#you know when the fundamental character moment is the one where they die? so you like celebrate their death? yeah

[pulchrasilva]

I am soo mentally ill about marisa coulter you don't understand

[raayllum]

She Must Pay the Price, or A Drop of Mercy :: A Rayla and Leola Meta

Quick:

You're a young elven girl, and you show mercy and compassion to a human that you definitely weren't supposed to. When it's found out, you're punished, with elves even calling for your execution (6x09, book 1 novelization). Your father does what he can, but there's only so much. You're put on trial. You're found guilty regardless of intent, and only by association. You die for this; you die for them. You're a star. A guiding light. There's even a Great Fall off a precipice (though only one of you hits the ground).

Your name is Leola, or Rayla.

You're the beginning and the end, respectively.

So let's talk about it.

Tests of Love

For years, I had wondered where Aaravos' assessment of "Those who fail tests of love are simple animals. They deserve to be motivated by fear" (2x09) came from, cause you don't drop in a line like that if it's not going somewhere. It's quite a statement and worldview, after all. Now, with Leola's trial, it seems we know.

We can see, then, perhaps that Leola's gift giving was the first test of love — are you willing to break the Natural Law, the Natural Order of things? — to help another? To show another a source of power in order to share, to be compassionate, and in Rayla's case, to be merciful (though we'll get more to that in a minute).

We also know that the love Leola had was powerful and all encompassing:

She didn't care to follow the order set in the stars. Though she was born an immortal being from the Heavens, she loved this world... and all its flaws. Her heart was warm and open.

And she befriended mortals. Animals, elves... and humans.

ETHARI: Who I love, where I love, what I love, are all specific. But to Runaan and those like your parents... love is rooted in all families, all creatures. Souls like that feel called to protect everyone as fiercely as those they hold close. (Bloodmoon Huntress)

Okay, so Leola and Rayla both have big compassionate hearts and befriend creatures from all over the place. So what? So do Callum, Ezran, Soren, and most of our other main good guy characters. Even Claudia to a degree (though she could work on not using magical creatures for spell parts).

Well, specifically, it's because of how they intersect currently more with anyone else on the concept of

Mercy

KOSMO: Daughter of the Moon, yours is a wondrous heart. In a moment of mercy, you sent ripples out into the ocean of time. Ripples that have not yet stilled. (6x05)

Rayla sparing Marcos, as noted in multiple interviews by the creators and by myself in previous metas, is ultimately the inciting incident / lynchpin of the entire series. Without it, there would've been no soulfang proposal or Ez running away to find the egg or any of the number of other elements that had to come together to make achieving peace possible.

While we still have details to discover regarding Aaravos' Fall and development of dark magic, we know that a lack of mercy was ultimately what sent him on his path of vengeance. Leola was not shown mercy, and while it seems there were already "flaws" for an imperfect world, things were (probably) better than they currently are in Xadia in a variety of ways. Then, to kick off the entire Saga, we have Rayla sparing Marcos in a soundtrack literally titled "Mercy" and have Kosmo, seasons and seasons later, spell out directly what a big deal this was for well, the ocean of time.

None of this is to say Rayla can't act out of revenge — she did ("when I first came here, I was on a mission for revenge") and she has ("but I became so obsessed with revenge"), much like Aaravos ("he isn't doing anything out of love, he's doing it for revenge") — but that her general compassion and love for others has always been stronger than her grief or rage, and that even when she had every social and personal reason to, she was and is fundamentally unable to hurt someone innocent.

Even when she's shamed or punished for it by herself or by others. RAYLA: The human looked up at me, and I saw the fear in his eyes. RUNAAN: Of course he was afraid, but you a job to do! (1x01)

EZRAN: Yeah, but then you saw he was scared, and you knew he was a person, just like you. RAYLA: That shouldn't have mattered. I had a job to do. (1x08)

The Cosmic Council — and to a degree, the Silvergrove — say that the reasonings or motivations, the intentions, behind Leola and Rayla's actions do not and should not matter when it comes out to doling 'Justice'. So Leola faces her justice, being literally killed in the one manner that can kill a Startouch elf, and so does Rayla, being metaphorically Ghosted / 'murdered' by her community, regardless.

Neither are enough to ultimately quell their light or their love/power, however.

A Star

RAYLA: That beautiful shining star you just pointed out? We call it Leola's Last Wish. (5x02)

So both Leola and Rayla are stars in season 6, literally and metaphorically respectively. Leola's is more self-explanatory, whereas Rayla's is mostly about the role she has in Callum's life as a guiding light and star. I don't think it's a coincidence, though, that just as Rayla placed Callum on his path of being a primal mage, though, that Leola did the same for humanity. I also don't think it's a coincidence that Callum's love for Rayla restores Callum's own light and agency amid Leola giving humanity the same through light and fire.

It happened long ago, when humans had only just learned to hold fire in their hands without burning. They nurtured their precious primal flames secretly—in the dark of night, beneath shadows and shrouds—as cultivating its glow drew the eyes and ire of monsters. Eventually, for the audacity of their fire, they were hunted, and—though they looked to the stars for salvation—the stars, too, looked down upon them with disdain. Humanity had been given something it was never meant to have. (TDP shorts, Ripples)

In this way, we see the manifestation of a repeating parallel of Rayla representing Leola, a gift giver of life, magic, light, unjustly punished/killed, and Callum representing humanity, looking to the kindest brightest star for guidance, magic, restoration, and salvation if he's just given the chance to grasp it. After all, presumably, Leola's last wish would have something to do with primal magic and humanity, and who represents that better than Callum, with two arcana under his belt and possibly more on the way? With that in mind, I want to return to another quote from earlier but with a different focus on

Ripples

Daughter of the Moon, yours is a wondrous heart. In a moment of mercy, you sent ripples out into the ocean of time. Ripples that have not yet stilled.

The wisest of the humans looked upon the water. His own reflection smiled back at him, and he dared to imagine what such power would feel like in his own hands, should he be allowed to hold it. Imagine, he thought, if I were more than what I am. With a trembling hand he touched the surface of the water. Ripples spread from his fingertips. [...] I hope the stars were watching. I hope they saw it: the moment their perfect reflections turned warped and ruined, churned to chaos by the touch of a single human hand. In this, the humans taught me another lesson. And so I touch the surface of the water. I watch the ripples spread.

Water in TDP is a strange beast, symbolically speaking. There are some more straight forward motifs (reflections, "don't try to control where the river [of life] goes, there's one thing you can know and control: yourself"). For Aaravos, it's connected to deep loss but also his own sense of patience in playing and winning his game, as illustrated above. For Rayla, it's linked to shame, self-reflection, bravery, and loss. Aaravos weeps and creates a sea upon losing Leola; Rayla says goodbye to her family by the lotus pond times three.

We don't know what water represents for Leola. Not distinctly, anyway. The best we can figure though, is that by following the through line of the Rayla and Leola parallels, that the ripples Leola wanted to send out or did send out — not the distortions caused by her father and his grief — are ones that Rayla received, and then continued.

Rayla has always been a foil to Aaravos, and this hasn't changed. She is the one who set Callum on the path initially of being a mage, which put him in Aaravos' machinations as prey; she retrieved his Key; and she's the reason Callum's done dark magic, twice. At the same time, much like the moon, Rayla carries Leola's light as much as she shoulders Aaravos' dark. She literally represents light in Callum's life, helps lead him through the darkness, and him being a primal mage and it's possible growth to other humans is the best possible thing that could've ever happened to Xadia.

Sol Regem says that "no one can save" Xadia or fix what is deeply broken. The Cosmic Council said that Leola had broken the Cosmic order and had to pay the price. Rayla has repeatedly been willing to pay the price for both hers and other's actions in hopes of making things right, of sparing others' pain. Sometimes to her detriment, but—if Rayla as Callum's one Truth could fix the darkness within him, if she's the lynchpin for breaking the Cycle, for bringing back Runaan and fixing her family's souls, in opposing and presenting mercy amid the Council's lack of mercy, in the face of Xadia's violence—

Then Rayla's act of mercy in 1x01, and potentially beyond in S7 with Callum, will be what fixes Xadia.

Leola's gift of magic is what 'broke' Xadia, and her execution is what literally did so, leading to the division of the continent. She wrongly paid the price in the absence of mercy and love. Rayla is therefore her thematic successor — welcomed this time as Light and Truth — as the carrier of Mercy and Love, and she will 'fix' Xadia through her ripples and dynamics. She will mend them back together. There will, at last, be no price to pay.

Misc. Thoughts / Predictions

One thing I was always curious about going forward into future seasons was the prospect of a 'trial' or reunification of the Silvergrove. It felt like a no-brainer the Silvergrove would have to change in order to reflect Runaan's character arc, much the way we see Katolis and the Sunfire elves change to better accommodate the new, more compassionate world order. Pre-S4 a trial felt a little strange as an idea, though post-S4 the parallels it could provide to the Lucia tribunal made more sense about why include either (or both).

However, Leola's trial seemed to hammer home the almost necessity (as this is still a prediction, after all, that may not happen) of Rayla and/or Runaan saying their peace to the Silvergrove leaders. This would be a great opportunity to provide a contrast to the Cosmic Council, reaffirming that Xadia is ultimately better than them because the Moonshadow elves and everyone else can change, and the Cosmic Council seemingly cannot or will not. But I guess we'll have to wait for S7 or beyond (#GiveUsTheSaga) to find out if this'll come to fruition or not.

I also wanted to touch on what we see with Leola ("I'm so scared!") and the repeated emphasis on "recognizing fear as a moment of empathy and personhood" and the horror that can come if you don't have that moment of recognition. This is something I've touched on before most notably as a striking difference between S1 Rayla and S5 Claudia, but I thought it was worth mentioning as S6 added to it specifically with Viren towards Soren and Lissa. This is another point in the "Rayla is an inversion of the Council's lack of mercy" column, as Leola's — a child's fear, and Aaravos willing to pay the price and take her place — earns her no mercy. Rayla, meanwhile, sees someone innocent that she has 'every right' to execute is afraid of her, and that strays her hand; it steadies her sword, and she spares him. Because if someone is afraid of you, it's worth asking yourself why, and what you might want to do instead.

Last but not least I wanted to talk about Leola's parallels to Callum and Ezran as well, since they are very much there (though yet not perhaps to the same extent).

Ezran has Leola's friendliness to animals and soft heart. He too is a child whose death is called for as a means of Justice, and he is granted mercy through Rayla and the discovery of the egg, able to live and grow and help usher in peace. He is, I think, what Leola might've been allowed to be if she'd lived in different times. Callum, meanwhile, carries the gift giving motif through his cube, staff, and tokens he both gives to (moon-phoenix bracelet) and receives (the moon opal necklace) from Rayla, and previous 'human-Leola' magic dynamic. Callum being able to break free fully from Aaravos' and dark magic's control in S7 and turn his eye instead to primal magic will be what helps bring true justice to Leola and hope for humanity / Xadia in righting the Cosmic Council's fundamental wrongdoing. Hopefully, anyway.

Conclusion

I hope you enjoyed this deep dive into some parallels and potential narrative goings-on between Leola and Rayla as characters. TDP loves its historical and ironic layers in TDP (Ez and the Orphan Queen, Viren's arc from S1 to S6) and I think this layered thematic dynamic between the two merciful young girls was a good, brilliant choice by the creative team. I'm excited to see where this thematic thread goes in the future and how it may continue to be woven into the story. As always, thank you for reading, and I'll see you in the next one.

[thatgirlonstage]

I keep seeing that “people who died due to hamlet’s tomfoolery” post going around and I know it’s not that deep but I am getting Annoyed

Hamlet spends the entire play being reprimanded for mourning his father, stalked, spied on, and then subjected to repeated assassination attempts. More than one of the deaths he “causes” occur as an act of self-defense. And yes part of the point of the post is that there is collateral damage to revenge that one doesn’t intend but it is so so so important to the play that Hamlet’s revenge is driven by fundamentally different forces than, say, Iago, or Edmund from Lear, or even someone like Prospero. Those characters could just stop. At any moment they could just make the choice to stop and they could come out better for it (Prospero does). Hamlet could stop, but the price is the genuine danger that his uncle will have him killed. His uncle does have him killed. The poisoned sword is on Claudius and Laertes’ hands. It depends on your staging and acting choices, but Hamlet does not have to go into the duel with intent to either die or be killed.

Even before assassination becomes a serious consideration—before Polonius’ death—Hamlet has still been backed into a corner where he is being constantly harassed by his uncle, his mother, Polonius, two school friends his uncle and his mother recruited to spy on him, and the girl he likes, who may or may not be doing it willingly but is still engaged in spying on him nonetheless. Like. Do you get what kind of hyper-defensive, paranoid mental state that would put you into? Is it really a surprise he overreacts to Polonius’s presence behind the curtain?

I don’t know man, I’m just ranting, I just think people are way too ready to drag Hamlet for failing to fix the rotten thing in the state of Denmark when he spends most of the play just trying to fucking survive

[bloodscribed]

PROMPTS FROM VARIOUS LITERARY SOURCES.

I have not broken your heart — you have; and in breaking it, you have broken mine.

I cannot make you understand. I cannot make anyone understand what is happening inside me. I cannot even explain it to myself.

Since we're all going to die, it's obvious that when and how don't matter.

When life itself seems lunatic, who knows where the madness lies?

To dream the impossible dream, that is my quest.

When we set the carriage afire, her flesh will be roasted, her bones will be charred: she will die an agonizing death.

What isn't part of ourselves doesn't disturb us.

I have been and still am a seeker, but I have ceased to question stars and books; I have begun to listen to the teaching my blood whispers to me.

The bird fights its way out of the egg.

I have no right to call myself one who knows.

We who bore the mark might well be considered by the rest of the world as strange, even as insane and dangerous.

I have no idea whether parents can be of help, and I do not blame mine.

At one time I had given much thought to why men were so very rarely capable of living for an ideal. Now I saw that many, no, all men were capable of dying for one.

I will not make a gift of myself, I must be won.

Examine a person closely enough and you know more about him than he does himself.

One cannot apologize for something fundamental, and a child feels and knows this as well and as deeply as any sage.

The tree does not die. It waits.

Fate and character are different names for the same idea.

As soon as you trust yourself, you will know how to live.

A man sees in the world what he carries in his heart.

All theory is gray, my friend. But forever green is the tree of life.

I am not omniscient, but I know a lot.

Everything transitory is but an image.

One mind is enough for a thousand hands.

Man errs, till he has ceased to strive.

Words are mere sound and smoke, dimming the heavenly light.

But you will never know another's heart, unless you are prepared to give yours too.

The Devil's in the house and can't get out.

Men's wretchedness in soothe I so deplore.

To go wrong in one's own way is better than to go right in someone else's.

It takes something more than intelligence to act intelligently.

Your worst sin is that you have destroyed and betrayed yourself for nothing.

When reason fails, the devil helps!

A hundred suspicions don't make a proof.

The man who has a conscience suffers whilst acknowledging his sin. That is his punishment.

The fear of appearances is the first symptom of impotence.

Break what must be broken, once for all, that's all, and take the suffering on oneself.

Have you ever heard of 'a genius who had been stuffed and preserved'?

Every day I am fated to die.

All the activities of life seem unbearably dull to me and I have renounced them.

 If you would be nice to me, I would gladly die for you this moment.

Having made an utter failure of my life, I found myself one day in the midst of my poverty and wretchedness, thinking about the female companions of my youth.

So, surrender to sleep at last. What a misery, keeping watch through the night, wide awake -- you’ll soon come up from under all your troubles.

Man is the vainest of all creatures that have their being upon earth.

There is a time for making speeches, and a time for going to bed.

For there is nothing better in this world than that man and wife should be of one mind in a house.

I swear by the greatest, grimmest oath that binds the happy gods.

Few sons are the equals of their fathers; most fall short, all too few surpass them.

[kerubimcrepin]

LIVEBLOG: Wakfu Season 4, Episode 13 [PART 1]

I wonder what Joris's opinion on Tristepin abandoning post is. It'e either "thank god I don't have two Iops to wrangle" or "well at least the the one that's less likely to be killed is here" or "FOR FUCK'S SAKE NOT THIS FUCKING GUY"

Stealth mission with an iop by your side sounds like a whole new type of hell on earth.

It's very brief, but at this moment (5:50 in the episode), we can see Joris and Goultard going up the stairs.

The demons in my head are, once again, telling me to keep screenshotting him.

Trying to get her out is a pretty delicate balance, considering his strength. Joris is probably quite aware of the possibility that he might accdentally hurt her.

There's no fucking way Joris doesn't want Goultard to die a gruesome, violent death.

He's imagining Goultard's face instead of the rock... Seething and malding in silence.

GET SCARED.

DIDN'T EVEN HAVE THE TIME TO DODGE. HEHEHEHE

at least he's a good teammate, when he's not calling Joris slurs as a joke.

Not him looking down at them. BITCH WORK!!

Once again, I am compelled to take screenshots. It cannot be helped.

I will be honest, the sudden influx of content where Joris and Goultard are portrayed as friends — like drinking together, or going on missions together — in the fandom has been very weird, because I think what became very clear in this season is that Goultard is an iop who treats people in an iop way (for iops it's just normal to roughouse each other) while Joris is a man who has been infantilized for 600 years, doesn't want to be friends with anyone except people who never question his intelligence (like Yugo and Amaliaa), and wants to kill himself whenever his height is pointed out. and also has 2 drinking buddies already (who shower him in praise at how righteous and heroic and smart he is).

Literally fundamentally incompatible personalities. Joris can barely stand to be here, and the only thing uniting them is "we're immortal and don't want the world to end". If he could, Joris would slip rat poison into whatever Goultard is eating or drinking — because he knows that while it will not kill him, it will make him feel Bad. 😭

Maybe I'm weird, but I don't really like it when characters' discomfort of being treated cruelly is taken as something cute or funny or a Friendship thing...

(Attention: I am not bashing anyone, but expressing my personal opinion)

DFGJSDFKLGHSDKJFGHDSFKJG

you can tell that Joris is not having a good time. he's at his fucking limit. first he let loose with a "if you only knew :) how many people :) have degraded me the same way :) for all my life :)" and now an explicit "SHUT THE FUCK UP!!!!!"

I really do think he's imagining Goultard's head here.

:)

As someone insane enough to have drawn maaany comparisons between Nora&Efrim and Joris this season, I think he has a soft spot for her by now. She's been through a lot...

And I think Joris understands what it's like, to feel guilty, because of something horrible happening — even if it's not necessarily your fault; besides that, I think they both have very closely matched temperaments — they're both introspective and a bit embittered.

In a kinder universe, Nora and Joris could have been besties. And Nora could have gone to his house for tea. The two of them could probably speak very quietly to one another about some interesting, sad things.

And then Kerubim could have a post-divorce stress disorder-related heart palpitations due to seeing a pink haired woman IRL inside his house unannounced.

Basically, I NEED NORA&JORIS FRIENDSHIP FANART HI?!

Basically: I have crazy levels of brainworms about this (and about Eva trying to sacrifice herself for her family, but there are so many screenshots in this post already...)

Of COURSE he'd stand guard for her.

I'm fucking CRAZY and INSANE.

HIS SMILE HERE!! HE'S SO PROUD OF HER!!! HE BELIEVES IN HER!!!!!!

[blueskittlesart]

can we talk about how rauru is literally like. just zelda’s dad. like in that one scene where zelda looks like she’s gravely contemplating turning into a dragon and then rauru goes “i believe the answer lies in more research and understanding your power!” and she looks at him with such shock and awe. zelda’s adventures in the past are literally like her life but with a better dad. the queen promises her to help her figure out her power but dies before they can figure out a way how to use that power to safely save everyone. zelda desperately wants to help everyone and is clearly feeling the pressure of it all and the king is the one to tell her “hey i understand how hard you’re trying and how much you want to save everyone and we’re thankful for what you’re doing”. rauru actually acknowledges zelda’s dedication and the importance of research and technology, he is kind to her and never blames her for any of the bad things happening. he also never pushes zelda to make sacrifices and is the one sacrificing himself in the end - in botw, all the champions and zelda have to choose to make sacrifices to save the kingdom, but in totk rauru doesn’t ask that of any of the sages, instead recognizing his own responsibility as king and basically dying to save his kingdom. he’s literally zelda’s better dad.

same anon as the one raving about rauru also the differences between how the two kings treat link. they’re both tutorial figures but the way they guide is SO different. pretty much the first thing rhoam does is lie and pretend to be a random old man, being quite annoying as he sends link to do a bunch of challenges for a paraglider. the framing is so fundamentally different, rauru freely offers the information he has to link upfront, he apologises for the body modification, acknowledging link’s potential distress. rhoam basically keeps link on the plateau arbitrarily, presenting giving items and teaching link about things as challenges for link to overcome. rauru on the other hand aids link as best he can, tells him what he needs to do from the beginning (tells him to open the door which is pretty much the last thing he’ll need to do in the tutorial, telling him about the ultimate goal from the beginning), proposes solutions when it doesn’t work out (directs him to the shrines as a way to help him gain the strength he needs, as opposed to making him complete challenges to get a paraglider that in the moment seems like literally arbitrary conditions). rhoam telling link how much responsibility and pressure he has on him all of a sudden and how much he needs to do vs rauru telling link that it was wonderful to meet him and zelda’s accounts of him were all true. like. the framing. the difference in character. the deterioration of knowledge within hyrule falls parallel to the deterioration of its king’s kindness and virtue.

the differences between rauru and roham are crazy to me because one of them was so fundamentally good and one was so fundamentally flawed and yet. neither of them were able to save their kingdom. no matter how good a king of hyrule is, no matter what he gets right or wrong, he is still doomed to die. rhoam tried to sacrifice his daughter to keep hyrule alive. rauru did everything in his power to make sure she DIDNT have to be sacrificed. and in the end the outcome was the same. but the KINGS were not the same, and that difference in framing you mentioned i think is fundamentally a difference in legacy. rhoams legacy is to forever be the king who sacrificed children to save himself and died anyway. rhoam died a loser through and through, a king atop a throne of nothing but failure. i think that’s partially why he appears as an old man at first, because he KNOWS what being the king of hyrule means and he’s EMBARRASSED that his legacy is what it is. but rauru. in complete contrast, rauru was so GOOD. rauru died with his sages and his DAUGHTER alive to see another day. rauru ENSURED they’d live no matter what. he wouldn’t LET them sacrifice themselves for him. rauru put everyone else before himself. he didn’t expect or even tolerate self-sacrifice and yet when the time came he sacrificed HIMSELF selflessly despite knowing that it wouldn’t even WORK. rauru’s legacy is something to be proud of. he’s open to link because he has nothing TO hide. no regrets or stupid decisions. and he is remembered so much more favorably because of it.

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[greenbellehaven]

I’m not one to constantly compare & complain about what the movies lack compared to the books (not out loud anyway) but something that really grinds my gears is the Gringotts dragon escape in DH (pt2).

First, why why why did they make the dragon escape Hermione’s idea in the movie? There are so many instances where they give one of the boys’ actions/lines to Hermione to idk,,, heighten her importance in the movies?? (if you think she’s unimportant in any way in the books OR movies you must not have paid attention but that’s a whole other conversation) but when it comes to problem solving I do think the dragon escape scene shows how daring Harry can be. how his solutions aren’t always safe or logical in the moment, but damn was it a good idea (and cool af, obviously) not to mention that it’s a known fact that Hermione isn’t a fan of flying, so her suggesting escaping on a fucking dragon just doesn’t make sense to me. Harry, “i’d rather die than lose a Quidditch match” Potter is the only part of the Golden Trio who’d immediately suggest something that absurd. Ron MIGHT have suggested it, but even then it’d definitely be after a long list of much safer solutions, or at the very least offered up with a large side of Hesitance

Next, I so desperately wish they had that laughing fit after they jumped off the dragon. I know it doesn’t really matter in the grand scheme of things, but that moment in the book is so fundamental to understanding their friendship. because even in the middle of a war, when they’re exhausted, filthy, scared, confused, and everything else, we just robbed the most high-security bank in the wizarding world, and we escaped on a fucking dragon. That small moment when they acknowledge this and can’t help but laugh about it brings you back to the reality that these are just kids with the weight of the world on their shoulders. their lives aren’t really their own right now, so laughing it off is all they can do to keep themselves sane in that moment. plus, it’s realistic. no 17 year old witch or wizard is going to do something as insane as that and just keep it pushing without taking a second to marvel at what just happened.

Lastly, and definitely the least important, Hermione doesn’t acknowledge the big ass dragon they just let out into the world. in the book we at least get a little “oh i hope he’s going to be okay” (she’s just the sweetest person ever) but in the movies it’s just like oh ok thanks for the ride! :) and that’s it. I do feel like they don’t give Hermione as much depth in the movie as the books (which can be argued for all the characters, I know) but one little line would’ve really made the difference in my opinion.

The movie obviously has to get straight to the point and they only have so much time to get the characters out. but some things really change the dynamic of the Trio as well as the audience’s understanding of their friendship. obviously if you read the books then you’ll have the full picture but not everybody will. anyways that’s my little rant. i love the Golden Trio w all my heart

[yuukei-yikes]

Long as hell text post under the cut my guys

me when i wake up and talk every day about the same shit. heart <3 i could talk for days abt jin and the misogyny he writes with. it's everywhere of course lol but out of the female characters takane's like…. the most tragic, in my opinion, because she's the only female character to have absolutely 0 backstory. yes, there's Some stuff, such as her illness, but truly takane does not have that much angst surrounding her illness. everything about her is rather about haruka. takane's moment is yuukei yesterday, but yuukei yesterday is entirely about both haruka and takane and their relationship. yes it's takane's pov, but it's ultimately still about… haruka, and how she feels about him.

back then in the fandom, pre over the dimension specifically, there was a take going around i remember pretty well. "people write haruka and takane like there's nothing more to them than being in love with each other" like the only time we'd see haruka and takane specifically (in fan content), they'd just be there to be shippy. i TOTALLY agreed with this sentiment and i always have, especially because i've always been obsessed with them as characters and i was overanalyzing every little thing (when otd came out i was over the moon bc i got so much stuff right btw. if u even care)

HOWEVER. if u think about it. pre over the dimension, with the manga having covered yuukei yesterday already and the next time takane (and haruka) appear as themselves in the manga is A LOT later in volume 10 (by that time, otd was already out) (also i'll get to takane in 2nd manga route in a second), so what we had at the time, for haruka and takane's backstory, was manga&novel yuukei yesterday and what we got from the anime. if you consider this… truly, at first the only thing to go off really was. just their relationship. that was all there was to both of them, because haruka was described from takane's pov, and everything we got from takane was how she felt for haruka. that was IT. for everything else u had to read between the lines like i was doing bc 10 years later i'd still be here talking about it teehee

of course there are also the songs. takane's songs set in time before she's ene are yuukei yesterday and of course headphone actor, one of the Best kagepro songs dont even come AT ME anyways headphone actor as a song touches THE OTHER BIG THING we were offered about takane at the time. okay, she isn't JUST in love with haruka. the other thing about takane is… she wants to SURVIVE!!!

i've talked about this LOADS of times i know (about this entire thing actually but i just like talking about also it's my blog) takane gets opening eyes because she's so determined to live. ratio + this from novel 2 headphone actor

which brings me to. ugh. second manga route. takane….would not…. KILL HERSELF…. second manga route WHY. we finally get to see Takane again in the manga and she's just so spectacularly NOT HERSELF it's crazy. takane since her INTRODUCTION is presented as "selfish" and how her want for attention from haruka or in general gets the best of her. that's ene. THAT'S ene!!! that's also why ENE stays with shintaro!!! it is FUNDAMENTAL to her character. we were given miserably little about her and in the most simplified way to put it, those things are: takane 1. is an attention whore<3 2. doesn't want to die. so tell me. how do you manage to get these 2 very simple things so incredibly WRONG in second manga route.

where in the world would takane get mad haruka got another friend. it makes NO sense!?!? bro haruka and shintaro ARE ALSO BEST FRIENDS IN THE MAIN ROUTE, where takane ACTUALLY HAS REASONS TO ACTIVELY REALLY DISLIKE SHINTARO, and she doesn't give a fuck that they're friends, why would she randomly care so much now when she has no reason to even dislike shintaro? so basically because she doesn't have ayano she gets jealous and wants haruka all to herself?? erm ok?? let's say that's true (it's not), even if she was jealous of shintaro her desire to be by haruka's side WILL be stronger, she would NEVER just turn around and leave. absolutely NOT. one of the stupidest things takane does is want haruka to look her way so bad she doesn't realize HE'S DYING ON HER. this bitch is so insanely self centered she would never in her life walk out on haruka just for having another friend. REAL takane walks in there with that stupid basket and be like Everyone look at me NOW<3

ok. first trait: attention whore: second manga route FAILS. second trait: doesn't want to die. wonder what second manga route will do. (looks into the camera) takane kills herself in second manga route.

dude you're crazy. you literally get EVERYTHING WRONG. it pisses me off. and not only does she kill herself but she does it because haruka DIED!?!?!?!?!? OH MY GOD. i hate it it's so fucking fake it's not HER THAT'S NOT TAKANE ENOMOTO THAT'S A SHIT CHARACTER JIN AND MAHIRO SATO DECIDED TO SUDDENLY WRITE INTO THE STORY i already put it in this post but let me attach it again

dear lord. anyways i've talked about that loads of times but i needed to include it in this talk cuz. yeah. i dont even HATE the rest of second manga route i just hate how takane is written specifically but since she's everything 2 me erm. you get my thumbs down!!! anyways having acknowledged second manga route we can move on.

back to main route discussion. so takane's backstory. not super deep, especially compared to other characters. yes her backstory is basically that she's sad because her boyfriend dies. but as ene there's so much more to unpack, right?! a character who will 100% accept a HALF DEATH because she's so determined not to die, but she's also mentioned to be tirelessly looking for her body because despite everything she's got HOPE? that's SUPER interesting, i love her!! what will she- *is obsessed with shintaro* ene's obsession with shintaro again ties in with everything else, desperate for attention, finds kinship with shintaro because she (or rather, ayano) decided he's compatible with her, but most importantly, he's doing badly and she wants to help him. takane isn't a person anymore, she's alive only as a technicality, so… she spends time with shintaro! but we ignore, it's TWO YEARS. and only in one of those she is with shintaro. we tend to overlook she spends the WHOLE TIME looking for her body in that other year. of course ene talks a lot about how much she loves her power, how much she loves being ene and not having to take care of her sick body but it's a REALITY that she wants to get it back. if she really didn't want it, why would she look for it and later get back into it when she does find it? but that's in between the lines. ene's obsession with shintaro is super interesting and you KNOW i love everything we know about takane be it her obsession with shintaro or her crush on haruka. i just wish there was....more.... like everyone else gets more! like HARUKA, a damn side character, gets more!!

haruka gets so SO much, he even bonds with SETO!! he gets a really well developed friendship with shintaro, he gets a very long detailed introduction scene with ayano with funny younger mekatrio shenanigans, he gets yuukei quartet hangout moments, he gets a GOOD RELATIONSHIP WITH KENJIROU (fundamental imo as he's very important both in general and haruka and takane's social circle back then) and not just all that, but super thoughtfully written feelings about his illness, views on life, wishes... and all takane's story gets is…. she's sick, but it's ok it's not deadly, HARUKA HOWEVER…. oh, HE'S the real delicate one….especially since she's in love with him ofcourse!! dont forget!! btw she's grumpy cuz of her illness. she wishes she just didn't need sleep. aaanywaaays did we mention it's not as important as haruka's illness and btw she's in love with him?

unlike haruka, takane gets no relationship with ayano, and all their interactions are talking about how in LOVE they are with haruka and shintaro. no relationship with kenjirou beyond comic relief of ugh useless ass teacher, even revealed later on she stays in the dark about kenjirou forcing them to participate in the festival ON PURPOSE and playing her like that so she would be determined and make haruka join. her dynamic to shintaro pre being ene is just pitiful, and if it wasn't for his behavior towards her shintaro would be…. erm normal?? yea he's cold to ayano but that vs the way he randomly treats takane without even knowing her. god. imagine kagepro where shintaro DIDN'T do that. he'd still be flawed and stuff like what was the need😭 like HUUHH. takane gets nothing!!!!! and if we're still on the shintaro subject, why she's the asshole for being a menace as ene? whatever. i support women's wrongs. bully him harder.

alright. later she's ene, bonds with the dan. wait!! look!! it's KANO!!! she has so much in common with him, to the point he chooses her to open up to and helps her get her body back!!! this is a GREAT character choice to pair her with and to develop a dynamic with!! uh. oh wait….. kano's just totally awful to her and then later leaves her to get her body back offscreen and on her own? (looks into the camera again)

to continue comparing haruka and takane. takane mentions grandma makes her lunch, grandpa is dead, and they're both SUPER worried about her illness. there's…. nothing about their personalities or their relationship to her. meanwhile, haruka mentions everything! he's all like my illness… when it killed my mother it was exactly when the doctors said it would. my dad is cold and a little strange and doesnt spend time at home. we have a live in helper who does chores. like that's already so much deeper!

u find out through another mention later on that takane's parents work overseas but you dont know ANYTHING else despite it being so specific. while haruka goes on about his relationship with his dad or rather lack of relationship, and there's even some stranger at home doing chores for him. and again HE GETS TO HAVE A CLOSE RELATIONSHIP WITH KENJIROU, heavily written as a father/son dynamic. man.

anyways…. this is kinda all over the place and it's something i talk about very often but teehee. wanted to do it again. i was thinking about it again because i realized i don't tend to draw haruka in a context outside being takane's boytoy. which i don't particularly care about because i know that's not all i see him as and i do see him as a deep character of his own and i like analyzing him just as much… it's just in art specifically he's just always there to be in love with her and nothing else. and i was like damn does that suck of me?? but you know what. i dont care<3 thanks for coming to my ted talk.

[saintsenara]

Sirius/Ginny? I mean, canon setting is 🫣, but an AU where Sirius lives or time travel AU?

thank you very much for the ask, anon!

i've had to hear a huge amount about sinevra [a hot ship name if ever there was one] over the past year or so because @whinlatter is a paid-up believer in its viability. and i must say...

i'm convinced.

the first thing to get out of the way is that ginny's clearly got a wee crush on dear ol' padfoot. she spends several of the scenes which take place in the summer of order of the phoenix trying her best to get his attention - albeit in a way which prompts visceral flashbacks to being fifteen - by showering his bff [crookshanks] with affection and doing all she can to seem cool and fun.

but when this initial mortification is out of the way, there are hints of a broader platonic compatibility [at least from ginny's perspective, sirius is undoubtedly hard-pressed to remember her name during the canon timeline] that could very easily transition into something romantic if an author so desires - particularly in a scenario where they've both survived the war.

which we can see most clearly in the aftermath of arthur weasley being attacked by nagini:

"Your father knew what he was getting into, and he won't thank you for messing things up for the Order!" said Sirius angrily in his turn. "This is how it is - this is why you're not in the Order - you don't understand - there are things worth dying for!" "Easy for you to say, stuck here!" bellowed Fred. "I don't see you risking your neck!" The little colour remaining in Sirius's face drained from it. He looked for a moment as though he would quite like to hit Fred, but when he spoke, it was in a voice of determined calm. "I know it's hard, but we've all got to act as though we don't know anything yet. We've got to stay put, at least until we hear from your mother, all right?" Fred and George still looked mutinous. Ginny, however, took a few steps over to the nearest chair and sank into it.

ginny's acquiescence to sirius' point-of-view - even though she begins the scene taking the same line as fred and george - is really quite striking.

because - of course - it's due to her respecting his authority [noteworthy enough, since sirius' obvious depression during his confinement in grimmauld place reduces his authority status in harry and hermione's eyes].

but it's also due to the fact that she's one of the few child characters who ever really seems to get this idea of there being things worth - collectively - dying for.

harry - however terrified he is of voldemort and however dangerous he considers his mission against him to be - still fundamentally sees defeating the dark lord as something which is his responsibility and his responsibility alone. while he's upset to be excluded from the order in order of the phoenix, he stops caring about its work the moment he knows about the prophecy. he's shocked to learn that he must die in deathly hallows not just because this is shocking full-stop, but because he's never envisioned a scenario where he isn't the person delivering voldemort's death blow.

the divide between harry [and ron and hermione, to some extent] and the rest of the order when it comes to what the war is and what it means is a really interesting thread to unravel in all sorts of pairings [romantic or not]. and it's particularly interesting when thinking about his relationship - again, romantic or not - with both sirius and ginny.

it's striking in canon that the order never really seem to understand voldemort as anything other than a terrorist - which is to say, they never understand the more mystical aspects to the war and, especially, to his obsession with harry.

[many of the death eaters seem to be the same.]

this is the case for sirius. it always stands out to me how his only response to harry telling him about the vision he had of nagini attacking arthur is to ask whether he's told dumbledore - which directly contributes to harry's unwillingness to keep him informed about his occlumency lessons. he is similarly disinclined to tell harry anything about the prophecy - he may want harry to be told more about the order's operations than molly does, but harry doesn't learn anything which actually ends up being useful to his own battle against voldemort from him.

ginny, in contrast, is someone harry deliberately keeps at arm's length from the mystical aspects of his mission [even though, based on what she says to him at dumbledore's funeral, she's grasped these a lot quicker than sirius].

she is reduced to trying to do what the order does - running the hogwarts outpost of a conventional resistance movement while harry goes on his horcrux hunt [something harry never seriously considers to be worthwhile; he treats the story of her attempting to steal the sword of gryffindor as though it was all a laugh], while undoubtedly knowing that her contribution to the cause is minimal.

there are a lot of parallels there with sirius' experience in order of the phoenix. his depression is exacerbated by a feeling of uselessness - the only contribution to the order's work which he understands as worthwhile is an active one; he doesn't see the domestic aspects of the order's mission as valuable and he doesn't realise that harry needs his emotional support in grappling with the mystical side of his connection to voldemort.

i am really compelled by the idea of sirius and ginny bonding over this experience of being peripheral to what the war actually ended up being about, especially because each of them could offer the other the recognition that they did the best they could with the information they had [an act of forgiveness i think they'd be unable to offer themselves]. and i am compelled by the idea of this turning into something more.

i also think ginny would love a motorcycle.

[ninja-confession-go]

I don't know if this has been discussed before, but the direction they've taken Zane's character always makes me a bit... sad? Zane was my absolute favorite character from the start, I even purchased that one old ass book from the pilots about him when it published. His characterization from S1-S3 was solid and consistent. I related to him greatly, and despite him being a nindroid, he was treated as just another person. Which is important for the message they where conveying at the time- that just because someone acts different, or is 'othered' doesn't mean you can strip them of their humanity. Of course, I was ecstatic that they brought him back after S3. But since then his character was never treated the same. More often than not he was the brunt of jokes that directly dehumanize him and they used his status as a nindroid to make him have quirks he previously didn't have just for the sake of comedy. Zane started to feel useless to me in terms of his contributions to the team and show.

Now, it wasn't that bad before March of the Oni, and don't EVEN get me started on how Zane says he deletes traumatic memories :(- which sure, it could be an explanation for the dramatic personality shifts he has. We got more of the original Zane in S8-S9, but right after that? He was a shell of his character. Ever since he became titanium, he was different, you can't simply die and come back without something changing. But I feel like they used that as an excuse to mold Zane into a role that they need for each subplot which makes him change his fundamentals at a moments notice. He's not consistent. At all. He's whimsical one moment, completely robotic the next, sasses people and understands sarcasm one moment, and completely derails everything due to him being a 'robot' the next. If it was a more linear transition, it'd be great. But they retcon everything about him every two seconds. It makes me sad, I guess. He could've been a much more solid, interesting character, if they made him stick to who he was more, y'know? So now he's no longer my favorite despite little me thinking he'd always be my favorite.

This is NOT a 'I miss the old ninja' post, by the way, just how they've written Zane as a whole is lacking. This isn't limited to Zane at all either, but he makes me the most sad. I could talk all day about Zane. But yeah, sorry for the long post!

.

[bookshelfdreams]

Once again, as it so often is with ofmd, it is about violence.

Ed is capable of violence and it makes him feel monstrous. Killing his father was a defining moment in his life, something that became a core memory: The darkest, scariest part of himself, but also one that has protected him and been immensely useful. No matter how much he hurts himself with it, how much it chips away at his soul, he's willing and able to do horrible things. This is the price we pay for violence: When you kill, you die as well.

When he met Stede, a man he thinks is fundamentally incapable of the kind of violence that's slowly destroying Ed, it gave him hope that he, too, could move beyond it. That a life full of comfortable and beautiful things was not only possible but attainable; if Stede can sail the seas with his ridiculous toy ship full of books and soft fabrics, have a positive culture of open communication and constructive feedback, then fuck it, why can't he?

To him, Stede's incapability for violence is a positive thing; it might be Stede's greatest strength. But what Ed doesn't realize is that Stede's life, too has been profoundly shaped by violence, how intimately he is acquainted with it - from the other side. Stede has only ever been a victim of violence. Where the moments that replay in Ed's head (the lovely little motage at the beginning of 02x06 for example) are moments where he enacts violence, the moments that define Stede are ones where violence is done to him. We see him splattered with blood, picking flowers: we know what follows is humiliation, verbal and physical abuse, that Stede was unable to protect himself from.

So of course, to Stede, his lack of talent for violence becomes a character flaw. Something that makes him weak, pathetic, cowardly. When he finally learns how to wield violence, how to use it to protect himself and others, it's empowering. He revels in it, the small moments (I did a punch!) and the bigger ones. For the first time in all his life, he's not a victim anymore.

Ed does not know this about Stede. To him, Stede is fragile, someone not yet tainted by violence the way he is. Ed feels protective of Stede, and it's that perceived innocence that I think is a big part of it. All he sees is Stede descending down a path of violence and piracy he has walked already and cannot go down again; the last time he did, it literally made him suicidal. He can't follow, and he can't watch Stede destroy himself the way Ed did, either.

So he leaves.

And Stede, who feels like he has finally grown into a better, more capable version of himself, someone who is able to see hurt and fight back against it for once, doesn't understand this at all.

Both these viewpoints are ones that ofmd wants to validate: Violence is a terrible beast that will eat you whole and spit out your bones AND Violence is sometimes necessary, and even good. It's a delicate balance to keep, and 02x07 doesn't quite manage to do so. But despite the awkwardness, the bones are still there; we end on Roach and Fang (two characters very capable of and good at violence!) having their cute little self-care spa day. This is the future ofmd wants us to believe in: a world where we can chose care and tenderness over battles.

[darklinaforever]

I see so many people saying that the Doctor wanted to die / had suicidal impulses because he lost Clara. Whereas... yes, and no. Clara was only the retrigger of the Doctor's suicidal impulses. And the highlight of it, the straw that really broke the camel's back, was Bill's death. This desire to die in the Doctor at this period, comes from the compilation of the loss of all the loved ones he may have had, including Rose in it, like the moment where he thinks back to several people before stopping himself from regenerate indicates this. Clara was the re-trigger of these suicidal impulses after the accumulation of several losses, and Bill was the last straw after still other losses. Do you see the nuance ? It's not Clara herself, but rather the accumulation with her which was part of the return of this bad cycle. Each phase of the Doctor's suicidal urges is quite different. There is before he met Rose after the loss of his planet where he was clearly ok to die in the middle of a mission without seeing any problem, and when he lost Rose, her absence being really unbearable for his 10th incarnation which had been formatted on it. Especially since even at the time when Clara was alive, he already seemed to be tired of living : "This regeneration, it's a bit of a clerical error anyway. I've got to go sometime." So yes, we can take this sentence in the literal sense that yes, this regeneration was done a little outside the rules, but with what we know about the continuation of the character's arc, the sentence also takes its meaning double entender about the Doctor's upcoming suicidal impulses. He's already tired of losing people. He thinks that this regeneration is a mistake and that he must go there one day. For me, it literally stops the beginnings of his much clearer desire to die later. In my opinion, Twelve took a lot of risks throughout his story, and it even ended up rubbing off on Clara at one point. It's just that after Clara left, it became MUCH more obvious. He just stopped having any subtlety about it. Not to mention the fact that normally, a Time Lord does not go beyond the twelfth regeneration. So obviously there was the theme of the Doctor wishing to die during this specific regeneration since he should normally have stopped there, a Time Lord not often being entitled to a new cycle of twelve regenerations. Basically, at this stage of the Doctor's story, it could have been a character other than Clara who retriggers her suicidal impulses more fundamentally /frankly.

[vigarioamelia]

there are a lot of tragic characters in elden ring (pretty much everyone lol) but godwyn exudes a kind of Shakespearean tragedy that just makes me feel so bad for him

godwyn the... betrayed

do you guys remember that trend? jupiter was supposed to be a star but failed?

alexa, play the old doll audio

i'll be talking a lot about godwyn so uh big words trigger warning i guess

Godwyn the Golden, the first child of Godfrey and Queen Marika the Eternal and also the first Demigod known to ever perish.

He was the first descendant of the Golden Line and one of his traits is *literally* being friends with dragons.

Whenever he's mentioned, grief is involved. Both the grief of a Mother and the grief of the people.

He was part of the Golden Order, but we know for a fact he was no maniac for its fundamentals, given the genuine bond he had with Fortissax, for example.

I know we can't really Know this stuff but come on, Godwyn seemed like a certified Big Bro™. He gives the feeling of how pure a person should be. Royal blood – of the purest kind! From the lore we have of him, it appears that he really was The ideal prince.

I like to believe he was particularly fond of the Omen Twins and that, even though they grew up in completely opposite worlds from each other, he was always sort of There. Better than Marika, that's for sure. Just imagine big bro Godwyn taking his baby bros for a tour around the capital. They spend the entire day running around and Godwyn looks so peaceful that the twins can't help but feel that too, if only for a moment.

Not to mention the tender relationship he probably had with the cursed twins.

When Godwyn's spirit was slayed during the Night of the Black Knives, he received a fate worse than death itself: the curse of living in Death.

He who should be crowned golden as the Lord among them all was crowned in ruin as the Prince of Death.

Godwyn will not only never die, but he will never live again. His existence is a terror that punishes the roots of the Erdtree, a thing that not even Miquella was able to stop or help in any way.

This once sweet and kind and beautiful lord is now nothing but a creature spreading across the land.

When both Miquella and Fortissax failed to give him a proper death and rest, what then remained of his body was laid under the roots of the Erdtree. A bit fair, isn't it? First of the Demigod, ruined and buried under the Erdree, where he will slowly but certainly cause destruction and despair all across the land, bringing death to all it touches.

It kills me that the place where he's buried is so dark and lonely and scary. The Godwyn before the Rune of Death was assured to have dozens if not hundreds of statues and paintings and churches and whatever to honor him.

But Godwyn the Golden ceased to exist. There's no one left to adore or admire or cherish. The only thing left is Godwyn the Prince of Death.

He's now worshipped by the undead, Those Who Live in Death, as D calls them. Is there a more tragic end for a royal who was once beloved all across a golden capital?

The only way to change his fate is to make things even WORSE.

Restore the Elden Ring with the Rune of Death and he supposedly comes back again, but. Oh. My. Fucking. God. I would literally go fucking insane if I first opened my eyes to the world I cherished and grew up on completely destroyed by MYSELF without my damn consent.

If he became Prince of Death by his own choice? Fucking sexy. I would support him. SLAY (literally).

But this? My man was ROBBED.

Imagine being "reborn" (in death) and realizing that EVERYONE from your life is dead. The place where you ran around as a kid? Fucking demolished, DIRTY with ashes. ASHES OF DEAD PEOPLE.

AND YOU'RE THEIR MONARCH.

There's NOTHING to rule and most of all THERE'S NOTHING TO PROTECT.

Literally the worst thing that could happen to a dude.

look what the fuck they did to my baby holy shit there truly wasn't enough room for a blonde twink in the lands between was there

Ohh... Oh,  Lord Godwyn... Such cruelty, such humiliation... My poor, sweet lordling should have died a true death. As the first of the demigods to die. As a martyr to Destined Death. But why must it yet bring such disgrace? A scion of the golden bough, sentenced to live in Death...

i really only have two things left to say:

1. godwyn was too sexy to be in the game so miyazaki gave him the worst fate known to humanity (godhood?)

2. this happened to my buddy eric

[eliotquillon]

alex rider for the ask game :3

my favourite female character:

wow there’s just so many women in this series i can’t possibly choose! jk lmao.

for me it is sabina. my diva, my queen, the only character to consistently call alex on his shit and point out that for all his protests he keeps agreeing to do ‘one more mission’….i will never understand why people hate her (other than misogyny lmfao). i will forever be mad about that weird era of crocodile tears—never say die where ahorz turned her into a bit of a wet wipe because skeleton key/eagle strike sabina is so funny and headstrong and willing to give as good as she gets. i think she is one of the most realistic characters in the series (pun name aside) and her refusing to believe alex in eagle strike doesn’t make her evil or a fake friend…it makes her a teenage girl who was being gaslit by an intelligence agency. from sabina’s perspective the story is basically a horror movie: her best friend is being blackmailed and forced into putting his life at risk over and over, and there’s nothing she can do. there was never anything she could do. he chose danger and adventure over wanting to stay safe with her and her family and there was never any point in trying to change his mind because he is always going to be a little bit out of reach. i love her, and i think she balances alex out so well. forever mad that the tv adaptation didn’t have the foresight to realise that introducing kyra (who i love btw don’t get it twisted) and keeping her as a series regular was going to create some balancing issues with sabina, so they just turned tv sabina into a spineless caricature of all her worst traits because they didn’t need to worry about making her likeable like they did with kyra. book sabina i will love you forever.

my favourite male character:

am i allowed to say ‘the ghost of john rider that is perpetually haunting the narrative’. because to be clear it is the ghost of john rider that is perpetually haunting the narrative.

in all seriousness this is so difficult…i genuinely do love whatever the fuck is going on with the unreliable portrait of john that gets drawn throughout the series, but given that his only real appearance is in russian roulette (a book so filled with continuity errors/unreliable narration that for my own sanity i HAVE to assume that yassen is deliberately lying in at least parts of it) i don’t know if he sincerely counts as a ‘character’. although for what it’s worth i do fundamentally think that whoever john really was, he wasn’t a cut and dry ‘good person’ like we keep being TOLD to believe (too much contradiction going on with him for that).

it’s probably either general sarov OR alex himself. general sarov is cut and dry my favourite villain, is in my favourite book, and i could talk about his decision to shoot himself instead of alex (when sarov was 100% on the edge of victory!) forever. he’s such a tragic figure and i always find myself wishing that we’d gotten more villains like him…characters who genuinely weren’t cut-and-dry evil, whose motivations were actually kind of reasonable apart from the fact that the endgame/means to get to it were all wrong. but since i’m probably gonna talk a lot about skeleton key anyway i’ll put a pin in that. ALEX in the meantime…i love him so much. i love his smug one-liners, i love his fits of bad temper, i love that he never does what he’s told. and i also love how wistful he is. there’s a lot of moments, especially in the earlier books, where it’s clear that alex was actually already pretty fucked up from the simple fact of not knowing his parents. he’s been grappling with that big gnawing question of ‘who am i, really’ for a long time. he has so much guilt and shame. killing is for grown-ups and he’s still a child. i never really got into any of the other ‘teen spy’ novels when i was a kid and i think the reason why i latched onto alex rider specifically is because he is such a good protagonist. as an adult he is still so interesting because it becomes so much clearer how scared and insecure he is a lot of the time. i love him.

my favourite book/season/etc:

my fave season of the show is s1 fyi. ANYWAY.

as previously mentioned my fave book in the series is skeleton key. it is so many things. it’s a coming of age story. it’s a reverse whodunnit. it’s a story about grief. it is so, so uniquely of its time. alex continuously tries and fails at playing happy families (the pleasures, troy and turner, sarov) and never quite hits any of the right notes in any of them because he doesn’t know what it would look like. sarov would rather burn the world than admit that he sent his son to die in a useless proxy war and that it was his fault. it is the last book that was published before the war on terror started in earnest. i know it doesn’t really add to any of the overarcing stuff going on (no scorpia and no rider family drama) and nor does it have many of the other popular elements of the series (again, no scorpia and no rider family, but also no k-unit, no yassen, no julius, barely any whump, alex is basically beaten fair and square by sarov at every term) so i know this is probably an unpopular opinion. but there’s something so gentle about it. it’s so heartbreaking. it’s the point of no return - this is the first time alex chooses to do mi6 a favour instead of strictly being blackmailed into it. sarov killing himself even though he’s on the precipice of victory just because alex has made it explicitly clear that he will never be his son, that he can’t ever really turn back the clock, just fucking guts me. i don’t think this is necessarily the best-constructed book in the series (scorpia is, objectively, the best IMO), but it is my favourite.

also the american edition is totally different to every other edition and features a completely different version of the cia scenes, primarily to make the special agents more sympathetic and less like they fucking hate a child. which is just so cool. i mean the censorship stuff isn’t cool but the difference in editions is fascinating.

my fave episode (if it’s a tv show):

i can’t remember if it’s ep7 or 8 of season 3 but the tv show’s take on what happened at albert bridge. that episode. it was so, so good. i cannot imagine a better way to film it. i loved the interspersing of present with past and they cast john rider SO fucking well. i have a lot of mixed feelings about season 3 (i thought the decision to veer right back into being very book accurate after doing a pretty good job of making it explicitly clear that this was a retelling/its own distinct spin was…confusing) but that episode was perfect. i also really like s1ep8 (because i’m obsessed with kyra).

my fave cast member:

if we’re talking about the show again: marli siu as kyra. she is so fucking cool. and also adding kyra to the show, for all it opened up a can of worms, was the best thing guy burt ever did. i adore kyra so much.

if we’re using cast member to mean ‘recurring main character who isn’t one of my two named favourites’: i have a bit of a soft spot for crawley. i have no idea why, but something about him consistently being described as looking like a second-rate private school teacher forever tickles me. he’s just some guy but he cracks me up for some reason.

my favourite ship:

across the whole AR multiverse of madness, it is probably alex/kyra. i blame them for my sudden het ship renaissance tbh. i was rooting for them like i have never rooted for any heterosexual couple before (although arguably neither of them are het LOL). i think i fainted when they finally kissed in s3.

but if we’re doing book-only (since most of my answers have skewed that way)…hmm. i think i will have a forever fondness for sabina and alex’s invisible string thing they have going on. not friends not lovers but a secret third thing. i also like the toxic yaoi of john/yassen a lot because the fuck is going on THERE. i don’t fuck with alex/yassen because it personally icks me, but like i very much see the vision of yassen recreating the dynamic he had with john but with alex (and the roles reversed). john/yassen most toxic mentorship of all time spread the word.

a character i’d die defending:

sabina pleasure lol. i have in fact made some very snippy posts in the past because like…listen. obviously you are allowed to dislike her. you can dislike any character for any reason. but she has been DISPROPORTIONATELY hated on by the AR fandom. it is pure misogyny. her existence is not ‘getting in the way’ of making any other alex ship canon because sabina/alex isn’t even canon! claiming you dislike her because of ahorz’s bad/inconsistent writing is fair but you cannot say that and then, at the same time, praise the likes of ben daniels (whose identity has been swapped multiple times as a result of bad writing) as your fave character. she reacts badly to the truth in eagle strike but this was not her fault! she was being gaslit! if alex forgave her then i think maybe the fandom can let this go! she is one of the only shreds of normality left in his life and one of her chief functions is to call out alex’s shit and serve as a reality check to him. she did nothing wrong for REAL!!

a character i just can’t sympathise with:

i think it goes without saying that we’re not really meant to sympathise with a lot of these characters, so let me be controversial: mrs jones!!!!

like listen. i’m sorry to hear your kids got kidnapped yeah i actually am like obviously i’m gonna be upset about that innit yeah and tulip you know the only thing is yeah is that no-one can force me to be your mate or anything yeah and i don’t want to be mates wiv you alright? i know mrs jones is meant to be the ‘softer’ option to blunt. i know we are meant to believe, especially in the reboots, that she is better than him. but she isn’t. she talks a big game about how making alex work for them is wrong and that she’s against it, but she is never willing to put her money where her mouth is. she’s the one to goad alex into going to cairo in scorpia rising. in a lot of ways, i think her softer coating makes her a lot more insidious than blunt. this is one of the reasons i kind of went off the tv show towards the end: they made show!jones WAY too nice and sympathetic, and that’s just not who she is.

and don’t get it twisted: i think she’s fascinating. i love her character and her different faces are so, so interesting in a series that tends to stick women in the whore or mother box respectively. but i do not sympathise with her. i like her character, but i don’t like HER.

a character i grew to love:

am i allowed to say sabina again. because it is, genuinely, sabina. it took me YEARS to come around on her and then when i finally did it it was so worth it. but maybe i can’t say sabina for three different answers LOL.

this is genuinely a difficult question because there are a lot of characters in this series that i don’t LIKE but i LOVE in the sense that i find them interesting. i think jack has genuinely grown on me over the years, mostly as a result of the secret weapon short stories. it didn’t seem like it when i first read the series as a kid, but she’s so young, and she is functionally helpless—she wants to look after alex, but she’s an illegal immigrant with no blood relation to him, who at best is another way for mi6 to exploit him and at worst is a way for scorpia to exploit him. i have a lot more sympathy and respect for her now. and on a similar (yet wildly different) note: i hate ian rider, but he has slowly grown into the alex rider character i think about the most. what the fuck was up with him. what was up with him and john. did he know what he was doing when he raised alex to be a child soldier? is there a reason why yassen killed him but spared alex despite both of them being john’s blood relatives? i’m just so!!!

my anti otp:

sorry guys…it is yalex, i’m afraid. like i said: i can see the vision, but i can’t personally get past them meeting when alex is 14 and yassen is in his 30s. even in aus where they meet as adults i still get squicked out. honestly wish i could get over my aversion to it (at least a little) because i have read some FANTASTIC fics that had background yalex rumblings and i’m almost definitely depriving myself of a bunch of amazing fic by not really being willing to read anything where they’re at the forefront, but it’s just not for me ¯\_(ツ)_/¯

[jewishregulus]

How do you headcanon regulus personality to be like? Do you feel as though James and regulus complement each other in some ways?

why yes of course! i fundamentally disagree w outwardly mean and evil regulus bc it makes no sense canonically. perhaps in an au where he separates himself from his parents and gets to be happy but regulus cares too much to be outwardly rude to people . it would impact his reputation and his families reputation like he isn’t hexing people in the hallways . he’s a professional faker (shit talks behind people’s back most definitely) and feels guilty and horrible everytime he’s plagued with an evil thought . i know many people view him as a selfish character but i think he’s fundamentally not . he puts everyone else’s wishes for him above his own . he doesn’t really exist as a person outside of his family . i do think , outside of this control, he would be sarcastic and have very dry humor , would love to read and would be very introverted but long for connection and friendship. a loner not by choice, he enjoys company but has no idea how to reach for it. i think he loves magic and magical creatures and genuinely holds a lot of love in his heart that his family disapproves of !! regulus soft black !!! not to say i think regulus doesn’t have an attitude and an edge …. i just think he has fundamentally good morals sorry! i’m a good person regulus black enjoyer i can’t help it …. of course he’s morally gray but most of the decisions he makes r caused by the life long abuse and trauma he is subject to . regulus black was suicidal as hell in those deatheater meetings the moment he turned 18 he killed himself LMFAO . i just know he was the most uncomfortable person in there at any given moment . i think vaguely threatening posh regulus is true but it is his exterior and the assumptions ppl make … and then they get to know him and realize he’s got like a little kid version of himself who holds the world with so much fascination . and it makes you sad when you realize he thinks it’s a flaw and wants to stomp it out

in this way i think he compliments james very well!! both people who really do value others and life but behave in very odd judgmental ways (regulus being a fake recluse who can’t function as a person w control over his life and opinions who is fake as hell and sarcastic whilst also having no understanding of social situations and desperate to be liked by people around him. number one peer pressure victim. 15,000 mental illnesses and a penchant for self harming behavior.) (james potter who is unfortunately consistently acting like a frat bro at any given moment : assumes everyone naturally loves him and is mostly right which does evil things for him as a person . would die for his friends but is also insufferable to be around (affectionate) . harshly judgmental to anyone who doesn’t fit into his box of what counts as a good person (which by the way regulus challenges in a way i think helps james as a character!) . looping back to the frat bro thing i think james is the type of person to throw a crazy party and convince everybody to drink and do unsafe things for the fun and when u realize u don’t have a ride home and can’t walk u are so fucking SCARED to ask to stay the night bc of his general vibes but then he ends up taking care of you and getting u pain killers and making like an awesome breakfast for the whole crew? should be the worst person you know but just beneath the surface is so much good it’s impossible to hate him.) you would never think these people would get along but then they both love quidditch and train for it like it’s their life and they are both academics with serious opinions on art and literature they would both die for even though they are often opposing . they are the first people they can have a conversation with and truly match eachothers freak on any given topic. the fundamentals of both of their characters is how much they care about life and the things inside of it . it manifests in different ways but i truly think the thesis of jegulus is that they are so much more similar than one might think outwardly , and it creates a soft intimacy between them . and also just james introducing the concept of silliness fun and happiness into regulus’ life lol!!