#she's done no positive character growth and is learning from villains about how to be worse than she already is

[ceruleanwhore]

I’ve been thinking a lot about the end of Ted Lasso ever since the finale dropped and part of that is that I’m starting to really stop and think about season 3, which I didn’t have a chance to do before the finale because basically I was way behind and watched the entire last two seasons in like a week before the finale dropped to catch up just in time for the end. Because of my viewing experience and how I did rush through everything like that in order to be able to watch the finale when it aired, I didn’t really have a chance to analyse those seasons in any real capacity before that last episode dropped, which I now think contributed to my shock at how bad I felt the ending was. In retrospect, I actually think that the show was starting to go downhill even before season 3 first started and that this finale is the end result of that shift rather than it being this cheap shot out of left field that it first felt like it was.

First, there’s the matter of how they handle Nate’s fall from grace and his bit of a villain arc. While it’s not unrealistic for a guy to be unpopular and have no friends and then, when someone chooses to give him a chance because they think he’s just misunderstood, he turns out to be shitty, this doesn’t actually fit for Nate’s character or for the story in general. Nate is a kind of awkward guy who reads as neurodivergent and blossoms with the help and encouragement and validation that he first gets from Ted and then from the others and at the time they start this shift to the dark side with him, he’s actually in the middle of positive growth and is doing really well. There are other characters that they could have done this sort of arc with and had it make sense but, in the context of the story and Nate’s own character arc, it frankly just doesn’t really make sense. Combine that with some other aspects of how his character and this arc are written and it comes across like there’s maybe some bits of racism or perhaps also ableism floating around in the background there, especially when it comes to fucking Jade.

When Jade interacts with him, it definitely comes across as racist and potentially also ableist and classist, and yet her actions are never criticized and she’s actually rewarded by the narrative for some of this shit. Refusing to let Nate book that one table for no discernible reason is treated like a good thing for giving him an opportunity to learn and grow or whatever and when they’re actually dating and she goes behind his back to get him fired in order to force him into a life decision he doesn’t want to make, he never criticizes her for it and I think he even ends up thanking her. This is all coming from a show that, in the first season or two, showed us very solid, healthy relationships such as Roy and Keeley (regardless of if you ship it) and took the time to pick apart the makings of a healthy relationship and how it’s built on solid communication and mutual respect. For them to turn around and have Nate revert into this crude stereotype of a weird loser and then put him in a relationship built on disrespect and, dare I say, bigotry against him while having the audacity to present it like it’s good and healthy makes it feel like this is a different show entirely.

Going along with the idea of race, I also want to talk about Akufo. There are definitely more truly wealthy people in the show than just him and Jack, and yet I do take issue with how the only two people who are acknowledged to be billionaires, with a b, are a sapphic woman and a black man, since both are villains and both of their villainy is wholly rooted not just in money but in them being billionaires. I’ll talk more about Jack in a minute but I want to start with Akufo, because it makes me uncomfortable that they didn’t just create a villainous billionaire who happens to be a black African man but that his character is so… crude and gross and does stuff like have his assistant throw food at people who disagree with him. I mean, for fuck’s sake, throwback to when Sam turns him down and he is literally out here pantomiming taking a shit on him or whatever that was. It feels really racist and I just don’t understand for the life of me why they wouldn’t put in a white African billionaire based kind of on Elon Musk who’s out here with his fortune he built on Daddy’s blood money and then have that kind of character be doing all this crude, childish shit. It would’ve also added another layer to the conflict between him and Sam by introducing an element of racism and I just feel like it both would have actually made more sense and would have fixed the issues with the presentation of Akufo’s character.

As for Jack, the biggest issue is that we apparently can’t let a main character like Keeley be in a healthy, happy relationship that isn’t straight. It’s not that I think every lgbtq relationship in media needs to be nice and happy and healthy, but it just sits wrong with me that the only relationship that happens in the course of the show that is presented as being this unhealthy is the one sapphic romance featuring a main character. Don’t get me wrong — I love Colin and his bf, but Colin’s a side character and his bf is just a hair above being a nameless extra. Also, it bothers me to no end how they choose this relationship to point out issues with power imbalance but when Rebecca does it with Sam, she’s a girlboss who ✨slays✨ 

My other issue with the Jack situation is that, as someone else pointed out, the writers are willing to put in gay characters, but only in certain ways, and they aren’t willing to *go there* and allow existing characters to just happen to end up in lgbtq relationships with each other. Instead, it’s that we have our set, token lgbtq rep characters and they are exclusively allowed to do gay stuff with designated side characters that are invented solely for that purpose. They can invent a whole new person so Keeley can snog a girl, but they couldn’t possibly let her just do that with Rebecca, or even Sassy. Also, I was talking to my mom about Keeley and Jack’s relationship and she pointed out that while I had previously talked about how Roy and Keeley’s relationship really did a great job of showcasing the female gaze, Keeley and Jack really came across like they were written and filmed through the male gaze. In particular, she pointed out the scene when they’re in Keeley’s office and Keeley first kisses Jack and how, to my mom, that felt like the ‘girl on girl’ stuff that skeezy straight guys like to watch, and she’s right. Again, to my original point of this show going downhill, how tf did we go from a straight relationship that was the epitome of the female gaze in season 1 to a sapphic relationship that’s just more male gaze, homophobic, objectifying bullshit in season 3?

So as I start to consider all this kind of shit, suddenly that ending isn’t so shocking anymore. All it really was was a clearer demonstration of how this show has changed for the worse and it hit harder just because it was the finale and that was their chance to fix a bunch of stuff, but they didn’t. Ted Lasso is a show about hope and believing in everyone’s potential for good, so I think what happened is that, by virtue of the original messaging of the show itself, we all ended up hoping and believing in the show and the writers to become aware of their mistakes and fix them in time, just as their characters do, but they didn’t. 

#ted lasso #ted lasso meta #ted lasso critical #ted lasso criticism #anti ted lasso #ted lasso s3 #ted lasso season 3 #ted lasso finale

[strawberryqueen00]

Do you think that Viren is dead?

I hope this meme accuracy describes my words. If not…oh boy

But legit…there’s a chance. So Aaravos very clearly words it “the blood of your child” not the “life of your child” the blood. That is some SUPER specific wording I’ve been thinking of. Because well…Claudia is currently missing a leg and is letting a lot of blood. But Aaravos also uses the words “sacrifice” later. This implies a death(or that there just needs to be ENOUGH blood that the only one to get it is death which Claudia bleed out could provide).

But then there’s the question of

1. Can they find Viren in time. He’s in the woods(i assume this isn’t that big of a deal)

2. Would Claudia even have the strength to do this?(would be interesting if Terry used dark magic here 👀 but also unlikely)

3. How does she figure out how to do the spell. The homunculus saying “Blood of Child” seems like a detail that the writers very likely put in to let Claudia know about the blood but who tells her the symbol in the spell? I guess the homunculus could draw the symbol in the ground?

But we’ve seen this happen before where Claudia has done something the person didn’t want/had accepted reality in Soren. Soren was fine with what happened after the dragon fight. And having the extra drama of Claudia using dark magic to bring him back if he didn’t want to. THE ANGST YOU GUYS!

But I’m not just conflicted from a logistical perspective but from a character perspective.

If the story better if Viren comes back?

Is it more narratively fufilling for Viren to choose to die a meaningless death without dark magic when he was so prideful of positions of power. Of being remembered for something greater than this. To die on his own terms humbly on the ground, forsaking that thing that his pride focused on so much?

To some him dying without seeing the rest of the gang or them knowing he gave up dark magic is a waste. But, I don’t think so. Because it is a legitimately an interesting take to have a villain come to a moral change and become a better person without the heroes ever knowing. That you can grow as a person even in your last moments and that you don’t always have to reconcile with the people you hurt for your growth to be valid.

They can still hate you and you can grow as a better person and that’s okay.

So. Do you understand why I made the meme I did st the top of my post? There are so many unique possibilities for Viren’s development from this point forward if they let him live or not.

I don’t think it’s as obvious in one side of another if his death will be permanent.

Now time for a crack theory if you were there just for that answer you can leave. I don’t fully believe this but as a not normal.tm person. My brain is…interested in this potential connection. Follow my lead for a second.

So. Terry is an Earthblood Elf and we have seen in the show and the spellbook that they can control plants and stone. And the image we’ve seen at the beginning of every episode? Viren turning to stone. What if Terry had a way to seal Viren in stone in a state where he’s on the edge of death until they can help him?

This is also an additional theory that works here.

Just to be clear, I even LESS believe this but the threads are there for it.

We know that humans can have revelations about the Arcanums after their dark magic dream. What if, in this moment of death. Of accepting life and staying true to his beliefs, grounding himself for the first in his life. We know from the Tale of Xadia books(sorry using wiki screenshots my phone is cringe) the associations the show has with Earth. We know we can trust what the book has to say about Arcanums and the show because what they say about the Ocean is what Callum uses to learn it.

A lot of these currently don’t currently fit Viren but they could in a symbolic sense. In the future(harmony to represent the growth he’s made in his relationship with through Terry along with harmony in himself AND harmony between dark magic and Arcanum magic! Patience he showed in how long he waited for the throne and his plan but also a symbolic patience of how it’s taken for him to get here,

Before this he’s also been shown to be stubborn, resilient, he literally is a representation of the deep history humans have with dark magic. HOW MANY HAS HE TRIED TO HEAL PEOPLE WITH DARK MAGIC GUYS COME ON! BALANCE! BALAANCE Light and Dark come on!

This is all just a crack theory but the more I connected then points made and more sense. The narrative potential of the greatest user of Dark Magic in the series. The Magic that hurts creatures to use, becomes a magic user of EARTH AND NATURE. To heal what he has done. To take what he used to use and help it heal and grow. Like talk about a full circle opportunity!

But it’s pretty unlikely with what we know and it anyone wants to write a fanfic or make art off Earth arcanum Viren AU PLZ @ me I love this.

#the dragon prince #season 5 spoilers #tdp s5 #tdp #the dragon prince spoilers #viren redemption #earth viren #i guess thats a tag now

[dannyphantom-justiceleauge]

This may be a minor gripe but something that has kind of bothered me about discussions and depictions of Dan is how often people seem to forget that Dan isn't just an older evil Danny, he's a combination of Danny and Vlad's ghost sides. Like people always talk about him like Danny threw away his humanity and turned evil but that's not even true. Sure, we can say that Dan is the result of Danny's action but that's a little unfair. (1/2)

(2/2) Him cheating on a test, coincidentally putting his loved one's in a position where they could be killed, is absolutely not his fault. Letting Vlad take away his ghost powers with a strange contraption might not have been the smartest move, but we are talking about a grieving CHILD here, of course he isn't going to make the best decisions. If anything Vlad's the one to blame here, and even then, it's not like he could predict what happened

---

you aren't wrong, my friend. it really isn't entirely danny's fault and the whole 'if you cheat on a test, you'll loose everything you love' moral is confused at best. i think as fandom we find it more interesting to look at danny's potential evil and moral struggle with himself. so simplifying it to be dan is a worse case scenario of danny makes the conflict less abstract.

particularly because when it comes to self blame danny isn't going to go easy on himself just because it was excusable mistakes.

i think another talking point should be how danny is the target of the time assassination more than vlad is, even though vlad is part of the evil whole. you could argue that danny is the catalyst of his friends death and vlad inventing the claw things. but vlad invented the claw things. maybe because his human side survived and acted relatively harmless from then on? or maybe it's because the observants based on the available evidence recognized danny as more of a threat. i think that fits actually, for all vlad tried to be an evil mastermind, his achievements outside of terrorizing a teenager and theft isn't particularly impressive. danny was the one who got shit done. all his fights he finished one way or another and i could see how that would bleed into dan defeating everyone.

the real question is how to we fix this. ideally we could shape this idea so it's less confused, though i do honestly find the dynamic of half danny, half vlad interesting. if for not other reason. than two half ghosts make a whole. actually that's something else to be said about dan. his self-loathing is what led him to killing his human half, another negative aspect coming from danny.

i wonder if we could frame it like fusion, from su. obviously dan isn't stable or healthy, or based on love. he's most comparable to malichite. but with less internal debate. dan took the best and worst of both of them. danny's determination, danny's fighting ability, danny's anger, danny's sarcasm, vlad's anger, vlads lack of morals, vlads schemes, vlad's control. heck, vlads desire to rule the world. i don't think we ever got that from danny.

maybe if vlad was more involved in the fight with dan it could have been used as an opportunity to compare and contrast their characters. to go we're not so different you and i. danny gets to recognize that he has that dark potential. vlad gets to be humbled by the fact that what he wants isn't good for anyone, especially himself. and to be fair, we do see some of that humbling with future vlad, but none of that character growth is given to present vlad, so, really it's just another vehicle for danny angst. it also depends on what you want to do with vlad though. he's a fascinating character and could be given redemption under the right circumstances or be a character who has the opportunity for redemption but chooses not to be redeemed every time.

that fits him and makes him both a more pathetic and despicable villain. it's hard to pity someone who ignores the opportunities to heal and grow.

as for danny, he becomes far more aware of the consequences his actions, especially his selfish and cruel ones can have. because that potential was always there. he has a history of abusing his powers. perhaps for this specific incident him abusing his powers can be something less understandable than almost cheating on a test that he couldn't study for through no fault of his own. (maybe i just have flexible morals?). maybe it could be something more character relevant, like he did something particularly vlad like, maybe he set up a prank at the nasty burger to get dash but it set off the explosion that killed his family. or maybe he did something particularly cruel and manipulative. there are better catalysts than a test. either way he recognized that he should never go that far again and strive to avoid being actively cruel.

he also has the opportunity to recognize that vlad does have a human half, even the one he's fighting everyday. he can face some conflict in it's not entirely clear what trait belongs to vlad and what trait belongs to him. he can empathize with vlad and he can recognize that situations aren't always in black in white. those who fly the highest, fall the hardest, after all.

it can be a growing experience. and while making it solely a danny goes bad and learns not to do evil kind of story. maybe we could cut vlad from the equation and just have danny face himself, full evil refection. i think exploring both vlad and danny through this fusion is far more interesting. especially because we can build on what's revealed about vlad in these episodes, in later ones. danny sees a future where vlad chills and that maybe his vlad could get their. later he see vlads past and what he lost to become who he is.

and then there's vlads turning point episodes. i don't know when motherly instinct took place but maddie fully recognizing he's a bastard and rejection him, was a turning point for his sanity, and danny helped it along. then we have danny rejecting him repeatedly, then we the clone episode, which we can all agree was a desperate move on his part, that danny once again thwarted. and we can all agree that this was the cannon turning point for his character where he stopped fighting for a family and started trying to be danny's villain. in that episode, i think danny could potentially pity vlad enough to try and reach out. he's not going to justify what vlad did and he's not going to apologize for stopping him. he went too far. he hurt danny and dani, he crossed a moral line that can't be justified even with his desperation. but if he changes...

he lost this time but if he changes, maybe they'll reach the point where they're ready to accept him.

i think the same thing could be said about his relationship with jack and maddie. if he changes, if he reaches out. if acts like less of a crazy fruitloop, his friends would be there for him. jack is still trying to be there for him, even if he's being oblivious about vlad's faults. vlads the one driving wedges into his relationships and pushing everyone away.

and that's so freaking human and understandable.it would be such a cool thing to explore with his character.

i could also see a potential arc where after valerie finds out vlad and masters are the same person she tries to get close to him, both to sus out how evil he is and to understand him as a halfa. afterall danny got her to acknowledge dani as human enough, the same would apply to vlad/plasmius, right? only he's a bad person and the more she uncovers about vlad masters the man, the more she realizes it's not the ghost half that's evil. but this is a double edged sword because, vlad is getting attached to her and encouraging her to be more evil. he's encouraging her to go darker and darker in her fight against ghosts and her fight specifically against phantom. to the point where she finally draws the line and says, i'm not doing that! boom exploring the moral ambiguity of her character and getting her to take a hard stance on her morals, because there's a line too far for her.

and boom a further breakdown of vlads character because he finally had someone outside the fentons to redeem him. she could have helped pull him out of the hole he'd been digging himself into. she wanted to help him. he got attached to her, but he and his bad decisions decided to dig himself deeper instead. so once again he's 'abandoned and betrayed'.

from that point, i think it'd be time for him to finally face jack head on. not through manipulative schemes. not through veiled threats and insults. but the full confrontation of 'i always hated you. you ruined my life. you're the reason i lost everything'. which is really just his own self loathing speaking. and jack... empathetic jack can see that vlad desperately wants help. and jack would offer it to him. jack would try to hug it out and apologize and give vlad the love and friendship vlad's been fighting to steal this whole time.

and vlad would reject it.

he'd probably lash out a jack and go into a full breakdown/world destroying attack. could finally put the stolen crown to use and try declaring himself king and embracing his megalomaniac thing and actually be a threat this time. and THAT would be our series finally. everyone teaming up to fight 'king vlad'. danny probably finding out that he's technically king because he beat pariah dark but the matter being a bit confused because he had help. val and danny trying to find the ring of rage or at least find someone who can make one. secrets are out. i imagine vlad, upon revealing himself to jack would out danny to make danny as sad and alone as him. except nope, his family still loves him and val has had the character development to come around to him. (she's still gonna punch danny for lying for so long.) the ghosts will come and help because no one wants another tyrannical kind and vlads obviously off his rocker.

ah, the could have beens

anyway, i didn't mean for this to become a full vlad character analysis and rewrite when we were supposed to be talking about dan, but hey, i'm a simple creature. i like good writing, and i have to rewrite things myself, so be it. - Hestia

#dpjl #hestiawrites #danny phantom #vlad masters

[likealittleheartbeat]

I deeply appreciate how ATLA depicts all the main characters responses to trauma. Aang’s, for me, however, stands out for its rareness in media. And we are not hammered over the head with the idea that Aang (or any other characters) repeatedly act certain ways because of a single traumatic event. Sure, there are key moments in our lives when a certain event comes to the forefront, but no one experiences the world as constant flashbacks. Rather, we see only in retrospect the way our sarcastic sense of humor or our heightened friendliness were protective responses to a deep emotional injury. Being able to understand Aang’s approach to loss is essential for the show. The structure of the series is founded on his arc (despite an incredible foil provided by Zuko). Our little air nomad initially confronts the loss of his people with a full-on meltdown in the episode “The Southern Air Temple,” where Katara’s offering of familial belonging soothes him. But this kind of outburst is not Aang’s primary response (and actually the literally out-of-character apocalyptic tantrums align with Aang’s overall process of grieving). Instead of constantly brooding (hey Zuko!), Aang leans heavily toward the monk’s pacifist teachings and toward his assumed destiny “to save the world.” He becomes overtly accommodating and joyful, constantly trying to see “the good” in everything with a perfectionist’s zeal. This is not to ascribe his bubbliness only to his trauma. Rather, he comes to emphasize this part of his personality for reasons related to the negative emotions he struggles to face.  Book 1: Water

In the first season, Aang is simply rediscovering his place in the world. “Water is the element of change. The people of the water tribe are capable of adapting to many things. They have a sense of community and love that holds them together.” This is vital to Aang as he initially faces his experience. He won’t get through this if he is not prepared for his life to change. Even if he hadn’t been frozen for 100 years, his world would never be the same. This fact involves eventually finding new people that he feels safe with. After such a massive loss, he’s learning who to trust, and also often making mistakes; not only does he find Sokka and Katara (and I’d argue he’s actually slow to truly open up to them), this is the season where he helps save a fire nation citizen who betrays him to soldiers, befriends the rebel extremist Jet, and attempts to befriend an actively belligerent Zuko (his moral complexity had only JUST! been revealed to the kid!). He’s constantly offering trust to others and seeking their approval in opposition to the deep well of shame and guilt he carries as a survivor of violence. This is also the season where Aang swears off firebending after burning Katara in an overeager attempt to master the element (one will note how fire throughout the series is aligned with, above all else, assertiveness and yang). Aang is so eager to be seen as morally good to others that he refuses to risk any possible harm to them.  And asserting himself carries a danger, in one sense, that he might make a mistake and lose someone’s positive regard, and, in another sense, that he is replicating the anger and violence he’s witnessed. He has no relationship to his anger at this stage of his grief, so it comes out uncontrollably, both in firebending and the Avatar State. It’s through the patience of his new family that he can begin to feel unashamed about his past and about the ways his shame is finding (sometimes violent) expression in the present. Book 2: Earth In the second season he begins to trust himself and stand his ground. Earth, after all, is the element of substance, persistence, and endurance. The “Bitter Work” episode encapsulates how Aang must come to a more sturdy sense of his values. First, there is the transition of pedagogical style. While Katara emphasized support and kindness, Toph insists on blunt and threatening instruction, not for a lack of care towards Aang. Instead, it’s so Aang learns how to stop placing the desires of others above his own--to stop accommodating everyone else above his own needs. Toph taunts Aang by stealing one of the few keepsakes from the monastery that he holds onto. This attachment to the lost airbending culture is echoed in the larger arc with Appa. And, by the end of this episode, it is Aang’s attachment to Sokka that allows him to stand firm. This foreshadows the capital T Tragic downfall in the “Crossroads of Destiny.” Aang gives up his attachment to the other member of his new found family, Katara, despite his moral qualms. Although he has access to all the power of the Avatar state, his sacrifice is not rewarded. Season 2 illustrates Aang coming to terms with his values. He is learning about what he stands for, what holds meaning to him. Understanding himself also includes integrating his grief, and there’s a lonely and dangerous aspect to that exploration. We see Aang’s anger and hopelessness over longer stretches rather than outbursts in this season. It’s hard to watch and hard to root for him. That depressive state leads to actions that counter his previous sense of morality, as he decisively kills an animal, treats his friends unkindly, and blames others for his loss. Letting these harsher feelings emerge is an experiment, and most people discover their boundaries by crossing them. Finding ways to hold compassion for himself, even the harm he causes others, is the other side of this process. Our past and our challenging emotions are a part of us, but they are only a part. Since Aang now has a strong sense of community and is learning to be himself rather than simply seeking validation, we also see him having more healthy boundaries with new people. He’s no longer befriending villains in the second season! He’s respectful and trusting enough, but he’s not putting himself in vulnerable situations nor blindly trusting everyone. Instead, he’s more likely to listen to his friends’ opinions or think about how the monks might’ve been critical towards something (they’re complaints about Ba Sing Se, for example). By knowing what he cares for, he can know himself, the powerful, loving, grief-struck monk. And he can trust that, though he might not be everyone’s favorite person, he does not need to feel ashamed or guilty for who he is or what he’s been through. Book 3: Fire However, despite a sense of self and a sense of belonging, Aang and the group still find themselves constantly asking for permission throughout their time in Ba Sing Se. It’s in the third season, Fire, that initiative and assertiveness become the focus. And who better to provide guidance in this than the official prince of “you never think these things through,” Zuko. It’s no longer a time for avoidance or sturdy defensiveness. It is the season of action. Fire is the element of power, desire, and will, all of which require us to impact others.  We see the motif of initiative throughout the season: the rebels attempt to storm the Firelord on the Day of the Black Sun; Aang attempts to share his feelings and kiss Katara; Katara bends Hama and a couple of fire nation soldiers to her will. In each of these examples, the initiators face disgrace. Positive intent does not bring forth success, by any means, only more consequences to be dealt with. This is perhaps Aang’s biggest challenge. He is afraid that his actions will fail, or worse, they will succeed but he will be wrong in what he has chosen. The sequencing in the series, here, is important. We have already seen how Aang has worked to care for (and appreciate) the well-being of others and how he has learned to care for his own needs. With this in mind, he should be able to trust that his actions will derive from these wells of compassion. But easier said than done. Compassion can also trap him into indecision, hearkening back to his avoidant mistake in the storm, in which the whole mess began. Aang’s internal conflict, here, becomes more pronounced as the finale draws nearer. I think it’s especially significant that we witness Aang disagreeing with his mentors and friends. He must act in a way that will contradict and even threaten his sources of support if he is to trust his own desires. Even the fandom disagrees about the choice Aang makes, which further highlights the fact that making a decisive choice is contentious. There is no point in believing it will grant you love or admiration or success. For someone who began (and spent much of) the series regularly sacrificing himself just to bring others peace, Aang’s decision to prioritize his own interests despite the very explicit possibility of failure is the ultimate growth his character can have and the ultimate representation of him processing his trauma. (This arc was echoed and made even more explicit in many ways with Adora in the She-ra finale.) The last significant time Aang followed his desire, in his mind, was when he escaped the Air Temple in the storm. To want something, to trust his desire and act on it, is an act of incredible courage for him, and whether it succeeded or failed, whether anyone agrees or disagrees with it, it offered Aang a sense of peace and resolution. Now I appreciate and love Zuko’s iconic redemption arc, but Aang’s subtler arc, which subverts the “chosen one” narrative and broke ground to represent a prevalent emotional experience, stands out to me as the foundation for the show I love so much.

#aang #avatar the last airbender #trauma #ptsd #cptsd #atla #atla meta #zuko #redemption arc #adora #spop #catradora #catra #also no one will read this far in the tags but this is phoebe buffay's arc on friends

[unhealthyfanobsession]

I teased this in a previous post and people asked me to expand so...here’s my controversial take that Rhysand and Nesta are actually parallel characters in many ways and that they both hate each other so much because they ultimately hate themselves.

Alright ladies and gentleman, anti’s and stans, buckle your fucking seatbelts or hope off the roller coaster here because I’m about to learn you a thing or two about the most divisive characters in the ACOTAR world. 

Starting out very broadly- both characters are introduced as sort of confusing villains (Rhys is “evil” but he’s also helping Feyre. Nesta is an “awful sister”, but she also is protective of Elain and tells Feyre essentially to go and be happy), both have faced significant trauma and grapple with self-loathing and feelings of not being good enough, and both ultimately find redemption and healing with their mates who love them. They also both currently exist in a strange parallel coming out of ACOSF where Rhys is supposedly “chosen by the Cauldron” and Nesta is “blessed by the Mother”- the two sacred entities of Prythian.

Intrigued? More specifics and text analysis under the cut

Mommy (and Daddy) Issues:

Both characters were basically raised by their mother’s alone and then lost them at a young age and that had a deep impact on them. Rhysand had a far more positive experience of being raised by his mother HOWEVER I would argue that it was still “grooming” of a type since she took him away to train in Illyria specifically so that he wouldn’t be influenced by his father.

Rhys’ mother did this out of love and Nesta’s mother groomed her out of a social climbing agenda, but it had the same effect- they both lost the parent who was their primary caregiver at a young age and they were both not close with their father’s because of their mother’s actions  (again this was a good thing for Rhys, not as much for Nesta).

Parents Death: Rhys and Nesta both blame themselves for one of their parent’s death and are deeply affected by feeling like they failed someone important to them.

Rhys thinks that he is responsible for his mother and sister’s death because he gave Tamlin info

Rhys even says after this “It should have been me.”

Nesta feels that she was unable to save her father and she hates herself for it.

Rocky sibling relationship and Separation:

Rhysand and Cassian are obviously a lot further along in their sibling journey, but it’s stated that he and Cassian HATED each other and fought constantly essentially until Azriel arrived and then they decided to be “allies”.

Nesta and Feyre are also at each others throats but seem to put their differences aside in order to not upset Elain. (Even when Feyre first goes back to the human lands Nesta says NOPE NO FAE! But as soon as Elain asks her to do as Feyre says she agrees) and then Nesta states in ACOSF that she and Feyre were brought together by Elain to be allies in the war.

Rhysand and Cassian obviously grew into true brothers despite their adversarial, insulting, bitter beginning... and Nesta and Feyre after ACOSF have done the same. Obviously there’s still a lot of work to be done in that relationship, but the parallel stands (and is just strengthened by the fact that in both cases it’s the character with more power in the relationship- Nesta for being the oldest and Rhys for being the one whose family took Cassian in is then mated to the opposite sibling!)

Both have a parent who essentially separated them from their ‘siblings’ for their own benefit. Nesta’s mom isolated her as a child so that she could groom her and tell her how to maneuver her sisters when the time was right while Rhys’ father- afraid of his, Cassian, and Azriel’s combined power- separated them for 7 years through the first war to ensure they wouldn’t ally against him. Nesta was also separated from Feyre by Tamlin and tried to go to the wall to get her back but couldn’t get through- which is very reminiscent to me of the scene at the beginning of ACOWAR from the first war where Rhys is searching desperately but without hope for Cassian.

Shared Trauma and Learning to be “Evil” to protect their family:

both characters are sexual assault survivors who spend a chunk of their book (I’m counting ACOMAF as essentially Rhys’ book since that’s when we learn more about him as a character) grappling with that, coming to terms with it, and moving forward with a general attitude of “Never Again.” I would also argue that even their abusers are parallels as Rhysand was only ‘with’ Amarantha because he was trying to protect his family and Nesta was only ‘with’ Tomas because she thought his family might be able to take in and feed Elain (she says in ACOSF that she would give him whatever he wanted- her body meant nothing to her and Elain meant everything, which is essentially Rhys’ UTM mindset). In addition, both characters are able to escape their abusers out of love for Feyre. Rhys does so when Amarantha is about to kill Feyre, and Nesta does so because she realizes that Tomas would never go to the wall with her to save Feyre.

 Beyond this, both characters express that it is the lack of control over their own lives that truly haunts them. Rhys when he felt like he had no choice but to be Amarantha’s puppet and Nesta with a lot of her life, but especially when she is forced into the cauldron. Both of these are things that make them feel like failures for not protecting others. Rhys is haunted that he couldn’t protect Feyre under the mountain and Nesta is haunted that she couldn’t protect Elain from the cauldron.

This leads both characters to have a terrifying power-surge nightmare brought on by their trauma (Rhys from Amarantha; Nesta from the Cauldron) that terrifies those around them and can only be stopped by their mate.

In addition to this, they both have a “persona” that they put on and sometimes feel like they can’t shake off, a face that they made to protect themselves and their family. Rhys with his “Court of Nightmares” persona that he uses UTM, in the Hewn City, and with the other High Lords until the war. Part of his growth is letting people see beyond that ‘most powerful high lord of darkness’ mask.

For Nesta this is expressed by her “wolves” that she uses to put up a wall between her and the people who mocked her and her family, and especially Elain. And her learning to open up with Cassian and her found family was really important for her growth

HOWEVER, they both also keep that persona. Rhys has his mask polished for when anyone might threaten the people he loves and so does Nesta. Neither of them truly gave up that side of themselves, the darkness, they simply learned to stop it from consuming them. 

They also both LIKE doing this to their enemies. Rhys likes to toy with his enemies and torture those who would harm his family or betray him and so does Nesta- she revels in cutting down anyone who insults Elain and says in ACOSF that she’s felt the urge to do the same for Cassian. They both wield words like weapons and use their intelligence to ensure they are always one quip ahead of their enemies. Something that both Feyre and Cassian admire in their mates and try to emulate to a degree.

(Bonus points for the fact that in both cases their families did not ASK to be protected/sacrificed for.)

Found family and sacrifice:

Rhys calls Cassian and Azriel his “brothers” after becoming close while training and they conquer the blood rite together. Nesta calls Emerie and Gwyn her “sisters” after becoming close while training and they conquer the blood rite together. Rhys sacrifices himself to Amarantha in order to protect Cassian and Azriel (and Velaris). Nesta sacrifices herself to hold the path of Enalius to protect Emerie and Gwyn. There’s also a line in ACOMAF and a parallel line in ACOSF essentially about Nesta being willing to do anything- including “whore” herself- to protect Elain, and in order to protect his brother’s that’s exactly what Rhys did- “whore” himself to Amarantha.

Both are ‘saved by’ and feel not good enough for their mate:

I hesitate to use the word “saved by” because ultimately both characters have more agency than that, HOWEVER, both characters rely on their mate to a degree to pull them out of a very dark time and place. Feyre helps Rhys remember who he is and forgive himself for under the mountain and he even specifically calls her his “salvation.”

I don’t think I need to even say the Nesta part here, all of ACOSF is essentially Cassian helping Nesta climb out of a dark period so that they can heal together.

(Both also start connecting with their mates on a “just sex” situation.)

Both characters think that because of the things they’ve done and the darkness inside of them that they don’t deserve the people they have been mated to.

Obviously there are many differences, but the characters are similar in a lot of ways and what I think this really highlights is just how true that line is in ACOSF about Nesta being a wolf that was never allowed to learn how to be a wolf. Meanwhile Rhys is 500 years older and has always had power and agency of some kind even at his lowest point. Nesta didn’t have that power and wasn’t allowed to really unleash herself so she armed herself with a steel exterior to make up for that lack of power and control. Which is very similar to what Rhysand did when he felt he didn’t have power under the mountain- put on a cold face, not let anyone in, and act cruel in order to get through it.

Overall it’s an interesting character study because in a lot of ways these are very similar characters, but there is such a MASSIVE divide among the fandom of liking and hating one or both of them. Ultimately, I do think that a lot of the hate Nesta gets is because she’s a woman and female characters simply aren’t allowed to have the same flaws as male ones- which is kind of Nesta’s whole life story. BUT I think that Rhysand actually gets unintentionally screwed over by the narrative in one big way. Becuase my final paralell is that I think a lot of people came around on Nesta when they saw in her perspective that she knows she has problems and how much she was struggling… and I also think that Rhysand is so hated by those who dislike him because of Feyre’s ‘he can do no wrong’ perspective. I think if we saw more of Rhysand internally struggling and knowing that he made the wrong call sometimes and second guessing himself he’d be a lot more likeable character. We know he’s capable of this because when Cassian calls him out on the training roof for always thinking the worst of Nesta he just says “you’re right. I’m sorry” and he even *kinda* admits some wrong when he’s so shocked by how deep Nesta’s trauma is. Feyre and the rest of the IC constantly exalting Rhys as perfect when he so clearly isn’t and in fact has a lot of the same “flaws” as Nesta is probably the most frustrating thing about the character, which ultimately I think is kind of unfair because we know from his few perspectives that he doesn’t see himself that way.

#nesta archeron #rhysand #nessian #Feysand #acosf #cassian #feyre archeron #acosf spoilers #a court of silver flames #a court of silver flames spoilers #Azriel #acotar #acowar #acomaf #acofas #sarah j maas #a court of wings and embers #a court of thorns and roses #a court of mist and fury #a court of wings and ruin #nesta stan #cassian and nesta #feyreandrhysand #elain archeron #gwyneth berdara #gwyn #emerie

[fruitless-nonsense]

Well… turns out I have a lot of opinions on characters I don’t even think strongly of. Who knew?

No joke, this is probably not as thorough as I like, but this idea came to me and I have so much to say that I don’t know how to structure it. Okay? Let’s talk about Damon Salvatore!

If you read any of my previous posts, you’ve probably gotten a decent idea of how I feel about him from my quick snippy remarks. I genuinely believe he is the worst character in the show. Yes, other characters can be more boring than him. Yes, there are people that can be more infuriating than him. It’s not simply who his character was, it’s how the writers wouldn’t stop messing with him that convinced me he was utter trash. Sit back, cause this could take awhile.

Let’s start with season one and the two brothers. Theory time! I’m strongly of the opinion the writers wanted a love triangle between Elena, Stefan, and Damon from the very beginning. Not that crazy to believe considering this show was born off the heels of Twilight’s grossing fame, not to take credit away from all the other shows at the time which featured a love triangle or two. From fanfics to original stories written by tweens I read when I was thirteen, love triangles were huge back then (in a way they still are fairly popular, but not like back in the day. Now I feel old). So they wanted a love triangle? Sounds cliche enough to be in the vampire diaries, what’s wrong? Well, there’s a bit of an issue with the candidates, or more specifically candidate. You see, Edward was a creep and Jacob was an incel, but you can say they weren’t monsters (well by my standards they were, but by YA standards they were pretty normal). I mean, the movie made a point to say the Cullens didn’t feed from humans, and they’re only seen killing in self defense, meanwhile Jacob is treated like a good person throughout despite everything. My point is, at least at the beginning, the story didn’t want to paint either candidate as irredeemable. Back to tvd season one, Damon tortures Caroline, kills Zack, two random humans, and that one football coach/history teacher, mentally and physically tortured Vicky Donavon before turning her against her will and made it impossible for Stefan to remedy the situation until he ultimately had to kill her to save Elena, and this is all from the first seven episodes.

Now, I used to think at least Damon was a fun villain, but was he really? I mean, yeah he could be funny, got a few chuckles outta me, but besides humor and violence what was his character? For example, in season one we are introduced to Stefan, a supposed “good vampire” who has taken a liking to Elena due to similarities between her and his ex before admiring how much better of a person she is and wanting a true connection with her. We later learn that his experience with his ex Katherine was extremely one-sided as he was compelled to love her to satiate her needs. Even later (still season one), we learn that his only drinking animal blood is because he is a ripper or “blood addict” as I call it cause even one taste of human blood and he’ll go on a rampage. So by seasons end we have a character who was a victim of serious abuse (which is never truly addressed in the show btw) and carries a rare vampire trait that makes not being a murderous psychopath incredibly difficult, yet he still tries to beat the odds and not hurt people. This is a lot to learn about a character in its first season, and it helps us gravitate towards wanting him to succeed. Stefan is what you would call a good character (at least for now). So that was all we got on the first candidate, what about option number two? Well, he’s funny and he likes to kill people, that’s about it. That ripper gene that Stefan’s fighting, Damon’s not someone who gave in to the gene to explain why he’s so murder happy, he doesn’t even have it! There’s nothing making him be a bad person, he just is one! Why? Your guess is as good as mine. The most we get is learning he had real feelings for Katherine and was never compelled to love her as an explanation for why he hates Stefan so much. Wow, two brothers at war over a girl one of them doesn’t even like. You can’t even say it was because Stefan turned him, because Damon says it blank that it’s cause of Katherine in 1x20, so don’t. So Damon kills for no reason, hates Stefan for a stupid reason, and has no personality traits outside of humor, murder, Katherine, and hates Stefan. With all of this on the table, my question is this, how do the writers expect me to pick Damon over Stefan in this love triangle with everything we got in season one? And the writers realized this.

Season two starts this long “arc” asking if Damon can be redeemed, or that’s what the writers wanted. Second theory: the writers realized they couldn’t justify Elena picking Damon over Stefan without ruining her character (lol), so they decided the best way to keep this love triangle idea afloat was to redeem Damon. The theory comes in when they realized they couldn’t completely redeem him because they had written themselves into a corner and being a murdering psycho with quirky one liners was his entire character, therefore redeeming him would take away what made Damon himself and so likable among fans (not me). I’m gonna pull the rug from under ya, remember when I said klaroline was not actually a love story, but was positioned and is still believed to have been one despite this fact? Same applies here. Did Damon ever go through a redemption arc, or did the writers want you to think that he did so they could have their cake and eat it too? Is there any actual story progression that show growth in Damon as a character? Nope. He’s sadder, wouldn’t say that’s him being a better person. In the early seasons, his characterization feels more like a seesaw than an arc. Sometimes he’s chill and helping with a plan, and the next episode he’s biting a chunk out of more innocent bystanders while abusing more women (*cough* *cough* justice for Andie). The longest I can say he was a genuinely decent person was in season six when he was trapped in the prison world with Bonnie (cause she’s the only character that would put up with his bs). Everywhere else, an inconsistent character, and I feel like that was intentional. They wanted to keep Damon how fans liked him while making him seem like a better person. An example is the introduction of Enzo, which I think was a ploy by the writers to make it seem like season five Damon was interacting with a season one Damon to show how far he’s come, but that doesn’t stick at all (mostly because Enzo’s crimes in the show compared to season one Damon’s feel less psychotic and malicious). All in all, to me Damon on his own was a truly boring character and even more boring villain. No motivation and no personality outside his infatuations. Which leads me into the worst plot line of my entire cw experience: Delena.

If you haven’t noticed, I hate this ship with a fiery passion. The only reason I think it’s slightly better than klaroline was at least the writers tried to write a story with them (keyword tried). I said they would have to ruin Elena’s character to have her choose him over Stefan, and I was right! Not only does she cheat with him (2x22 and other scenes from season three), it’s never explained why she likes him in the first place (actually in season six they say it’s cause he gave her Stefan’s gift necklace despite being in love with her, which is so stupid it made me laugh). Furthermore, why does Damon develop feeling for Elena? Supposedly it happens while he’s still obsessing over Katherine, so is that it? The turning point which pushes them together is revealed to all be fabricated by a sirebond. For real, the only reason Elena fell out of love with Stefan is because a bond out of her control made it impossible for Stefan to help her through vampirism and thus she had to lean on Damon for support. I know the show states the bond didn’t create her feelings merely heighten them, but it did isolate her from everyone else she loved and made it so she had no choice but to rely on Damon, and that’s not exactly better than the former. Let me say it louder for the kids that were corrupted. Codependency. Is. Not. Healthy. It’s toxic, and the trope in romance needs to die a horrible death. And the show knows it’s toxic, they bring it up all the time in season five and six thinking that will excuse them to keep going with it. Sorry hun, self awareness does not give you a pass. The worst part is the pacing. I mentioned the sirebond storyline in season four which takes up a huge amount of the season with them debating if her feelings were real before abruptly deciding Elena doesn’t care. Great conclusion, but it gets worse. Season five is pretty thin as far as a story, so what fills the run time is a storyline straight out of fifty shades. Fighting, sex, fighting, sex, breaking up because they aren’t healthy, sex, fighting followed by getting back together followed by more fighting and more sex. I can’t tell you what was gained after everything that transpired in the season. Lastly is season six which took time away from the first interesting villain since season three to give us an amnesia storyline! I’d tell you more, but if you’ve ever seen a movie you could probably explain it exactly. All that time that could’ve been spent in better ways, was given to something I stopped caring about by season fours end.

Honestly, the fact that the show treats this like the greatest love story of all time makes me less angry and more concerned, because the audience who watched this show weren’t adults who understand what love really is, the people who watched this was made up of mostly tweens and teens. I can’t get too mad, this trope is everywhere, girl helps abusive guy be better person while sapping away all her energy in the process was done before and is still being done today. All I ask is that the young adults who remember this show fondly understand how wrong this is. How people like Damon should not be pitied and relationships like Delena should not be celebrated. Ship whatever you want, but please tell me you’re okay. Are you okay? In conclusion, Damon is trash and Delena wasted my time along with being extremely toxic and abusive. Goodnight everybody!

#anti damon salvatore #anti delena #anti tvd and to writers #anti klaroline #damon salvatore #elena gilbert #stefan salvatore #Stefan deserves better #anti the vampire diaries #anti codependency

[love-sapphirerose]

Inuyasha and Kikyo Is the Feudal Romance We Deserved

Inuyasha and Kikyo are well known for their doomed romance in Rumiko Takahashi's iconic Inuyasha series. But what if Kikyo had lived instead?

BY DIANE DARCY

PUBLISHED MAY 16, 2021 With the 2020 debut of Yashahime: Princess Half-Demon, fans of the original Inuyasha series got an opportunity to revisit familiar faces as well as meet the children of their favorite pairings who front the new series. But what if one of these pairings had turned out differently? What if, instead of dying and reincarnating as Kagome Higurashi, Kikyo had actually lived to spend the rest of her life with Inuyasha?

While Kikyo living would’ve resulted in a very different story from the one Inuyasha creator Rumiko Takahashi developed, it also could’ve resulted in a more epic romance story. What is it about Inuyasha and Kikyo as a couple from 50 years ago that makes them so compelling? The characters could have developed very differently, with some fascinating aspects of Japanese history enriching their story even further.

In both the manga and anime, one of the unifying themes of Inuyasha and Kikyo's relationship is the two characters feeling out of touch with their humanity. In Inuyasha's case, he is a hanyou (a being who is half human and half youkai) born to a human mother and a great dog youkai, both of whom had high status in their respective communities. Despite this, however, Inuyasha was rejected by both humans and youkai alike for not being of pure blood. As such, he was forced to fend for himself at a very young age, resulting in feelings of self-loathing and a profound distrust in others.

Kikyo was born into a human village that she later protected as a miko (shrine maiden) after reaching adolescence. Little is known about her childhood apart from the fact she was born with strong spiritual potential (as narrated by her younger sister Kaede), though much of it can also be pieced together based on the history of miko in Japan. As stated by Tsubaki -- a rival of Kikyo -- in Episode 147 of the Inuyasha anime, a miko's spiritual power thrives when she abandons all human feelings. She also warns that as a woman, Kikyo could naturally fall in love, which would cause her powers to weaken.

Though Tsubaki's explanation of a miko's spiritual power is treated as a curse by Kikyo in the anime, it is actually consistent with how young girls trained to become miko in Japan's earlier history, most notably during the Sengoku period (when Inuyasha takes place) and especially in centuries prior. As practitioners of Shinto, young girls who trained to become miko underwent various purification rituals as a way of strengthening their spiritual power. Since purity is central to the Shinto belief system, miko were not permitted to marry as it was believed that compromising their sexual purity would also compromise the strength of their spiritual power. This last part is relevant to Kikyo's storyline.

Inuyasha and Kikyo's storylines converged when the latter was given custody of the Shikon no Tama, a powerful jewel with a reputation to grant any wish to its possessor. Inuyasha desired the jewel as a means of erasing his humanity in exchange for becoming a full youkai, though he had to get through Kikyo to get it. While Kikyo had the skills and power to keep the jewel safe, she also found her new occupation even more isolating than being a miko alone. After meeting Inuyasha, Kikyo became aware of her human desires and emotions, which factored into her decision to rid herself of the jewel and pursue life as an ordinary woman.

The premise of Inuyasha desiring to erase his humanity with Kikyo desiring to reclaim her humanity created strong story potential that deserved further fleshing out. This was done to an extent in the anime story The Tragic Love Song of Destiny (Episodes 147-148) that depicts the budding romance between Inuyasha and Kikyo, leading up to the moment where she proposed Inuyasha use the Shikon no Tama to become human. At the time, Kikyo theorized that if the jewel was used to make Inuyasha fully human, it would be purified and would cease to exist. The original Inuyasha manga and subsequent anime adaptation, of course, established towards the finale that this would not have been the right wish. But realizing this could've been an important part of Kikyo's journey.

Another major development that could've still happened in a universe where Kikyo lived is the shattering of the Shikon no Tama -- this time by a weakened Kikyo, which would've been a huge wakeup call for her. Recalling what Tsubaki said earlier about how falling in love would cause her powers to weaken, being responsible for shattering the very jewel she was entrusted to purify would've shaken Kikyo to the point of rethinking her priorities. This would've placed Kikyo in a position of needing to learn new skills to supplement her miko training, which in turn could've created opportunities for character growth.

A meaningful change that could've come out of this journey was Kikyo realizing that the key to strengthening her spiritual power was embracing all aspects of her identity. Maybe she needed to realize that rejecting any part of herself -- whether it be her human self or miko self -- was why she wasn't being an effective guardian of the jewel. Allowing herself to experience human emotion may have allowed her to channel her powers in a smarter, more effective way.

Related to the plot of shattering the Shikon no Tama, the wounded thief Onigumo (whom Kikyo was nursing in a cave) could've still become the evil hanyou Naraku with the same motivation as before: wanting Kikyo for himself and desiring the Shikon no Tama as a means of getting her love. He still could've sent various youkai after Kikyo to exhaust her as he did in Tragic Love Song, only things didn't go his way. Instead of mortally wounding Kikyo, one of these attempts to exhaust her could've resulted in the aforementioned jewel's shattering, allowing the story to play out as it did originally -- but with some key differences.

Keeping Naraku as a villain would've still been important for Inuyasha's character development as he embodied a much darker version of Inuyasha's own goals. This could've forced Inuyasha to reconsider his own motivations for becoming a full youkai and whether or not he should take up Kikyo's offer to become fully human. Naraku's obsession with Kikyo could've similarly made Inuyasha re-evaluate his own feelings for Kikyo, whether he's similar to Naraku in lusting for her or if he actually loves her as a person. There's also the factor of Kikyo being exposed to Inuyasha's human side during moonless nights and the vulnerabilities that come with such moments. This too could've forced her to re-evaluate her own motivations for wanting Inuyasha to erase half of what he is as a means of purifying the jewel.

By getting to know Inuyasha in both of his forms, Kikyo could've ultimately decided against erasing what makes him unique, effectively changing her plans for purifying the jewel. Her thoughts on this could've been further solidified after experiencing what Naraku was capable of with only shards of the jewel as opposed to the complete jewel. Naraku's dark motivations could've similarly provided Inuyasha and Kikyo with the perspective to realize none of their problems would be resolved by casting a selfish wish on the jewel, regardless of their intent. Instead, they both could've reached the same conclusion that the only way to relieve themselves of the jewel and its destructive power was by wishing it out of existence, effectively allowing the jewel to destroy itself just like it originally did.

While keeping Kikyo alive would've changed significant aspects of the Inuyasha story, it also could've resulted in a more focused romance with more profound character development. Since both Inuyasha and Kikyo have a unifying theme of not feeling in touch with their humanity at the start of their respective narratives, their journey could've focused on them rediscovering their humanity together while not rejecting what makes them unique. By reconciling all aspects of themselves into more mature identities, their relationship would've been stronger for it.

#inukik #inuyasha #kikyo #inuyasha kikyo #inuyasha x kikyo #pro inukik #kikyou #inuyasha the final act

[pocketramblr]

other main character meta- Ochako, pt 1

<part 2>

“Could you send me there?” you ask, while i blink, confused. “The world where someone else is the main character? not because i have any hypocritical biases against the one i got, just curious how the fandom meta changes.”

“Oh, yeah, sure.” I nod, thinking, before tapping my wand against your forehead. “Let’s start with Ochako.”

"I'm going to warn you now- I will have to slightly adjust the plot like I did with Mirio, just to actually let her be the main character."

"Yeah, that checks out." You nod, thinking about certain arcs where the female fighting teams get no coverage while the dudes get four different backstory reveals and full fight focus.

"Very well."

The show begins with a brief narration by the girl of quirks and super hero fights- all flashy. Then it zooms out to show the destruction, and a small construction team moving in as Ochako explains that just as there are new careers in society for heroes, there's also a bigger market for construction companies, one of which her own family runs.

"I've always wanted to help them with it, and my quirk would be useful"- a tiny, adorable Ochako finally appears, making rocks in a park float- "but to get a work license like that is expensive and selective- you've got to make a lot of court appearances and convince them why is a good idea and won't destroy the economy. It's much easier to get a hero license."

Then she explains: "Of course, once you have a hero license, you can make a lot more money than just by helping the company. Especially if... Your family company isn't doing very well." A series of tired but loving parents are shown working all hours to make ends meet.

"I want to help them- my parents. They've done everything for me, and they deserve a break. So that's why I'm going to be a hero- their hero."

The training montage is quick, using her quirk during school in training, after school in secret, around the house. She saves up money too, and studies, aiming for a scholarship.

She applies and tests for many hero schools, and the exams all vary widely.

The first episode ends with her looking up at UA, her final one, the one she really hopes to get into.

"Oh, that's nice." You nod. "And we even get to know her parents' quirks here."

"Yep." I agree. "In general, there's a lot more of a look at the financial side. It's pretty interesting."

"And the fandom?"

"Well, certain people get praised for the bare minimum, but I'll admit having a female lead is super uncommon for shonen jump." It's an improvement, though it's up in the air how much of one it will be. "There's also, because we saw a lot more hero schools, a ton of "students at different school" fics, either because they were expelled or because of the danger UA gets into."

"I do kinda feel like this universe is lucky for that sort of world building." You nod.

"It's very cool to see the takes on the aus. But, I will say there's a cost for this world building- the AfO stuff reeeeally comes out of nowhere and tends to not be popular with fans."

The next episode starts, and Ochako helps a boy from falling. "Love interest alert!" The fans notice quickly when the cute boy blushes and doesn't manage to say much before she walks away.

"They caught on quick." You note.

"And they aren't wrong." Not that it's any real feat to be right.

The exam starts, and Ochako is off in a flash. You see a few glimpses of future classmates- Iida, Aoyama, Kirishima.

She does well, racking up villain points and rescue points, until she's a little too ambitious and falls into the rubble. Her nausea is well established by now, everyone knows she's at her limit.

She can't get up.

The green haired boy comes back and stops the zero pointer.

And breaks every bone in the process.

Ochako saves him in return, lifting up the rubble and stopping his fall.

And then vomits violently afterwards.

"You know, I think quirks suck, actually." The fandom tends to agree on this after that episode/chapter. "But it is interesting that there's such a price for the powers, balances it really well."

"Ha." You shake your head. "They caught onto that, quicker."

"Yep." I can't even say it's more highlighted here, it's the exact same way it was shown in our universe- down to the sparkling rainbow puke.

"Though..." You can't quite imagine that's the only thing the fandom is saying isn't actually that great.

"Ding ding ding." I nod. "Did our own main character get treated just like a damsel in distress? Sure, she saved him back, but that just meant she could have floated away on her own in that time, even if it made her sick. Better that than dead. Is it the sexism?" I shrug. "Most decide to wait and see a bit, and by the time they work together in the first battle exercise figure it's a pretty even split between them saving each other."

"So no sexism?" You get happy at that thought.

I cough. "Ah, no. Both in the show and the fandom. You wouldn't believe how many grown men complain about the lady mc, even as they keep watching."

"And have her body pillow."

"Please don't make me think about that." I cover my eyes, but don't deny that it's true. "Anyway, yeah. Get ready for a lot of people to point out that even though the main character is a girl, every single other girl is flat as cardboard so far and that she only has developed friends that are guys."

"Hey, they aren't flat-"

"In the first season? Yeah they are. Unless you meant, physically, in which case..."

"I didn't." You protest. "But I guess I can see your point, at the start."

"Right. Let's continue on."

Uraraka goes to Present Mic to offer her points. The man pats her on the head, and skyrockets to the position of fandom dad.

"It's all about Dadmic and then Dadzawa here," I explain. "The fans were very disappointed to learn Mic wasn't her homeroom teacher, but yeah... He got a huge head start before Dadzawa fics got going."

"Nice. And it's all fanon?"

"Yeah, it may be a good thing he's not actually in it much, or they might realize how much they just made up on their own."

Then she gets accepted in, on hero and rescue points- she's third place overall, and she gets the scholarship.

On the first day of school, she actually gets to know her love interest's name- Midoriya!

There's also the quirk assessment, which really leads to the "expelled to another school" au and the "fire Aizawa and replace him with better Mic" aus, the first of which lasts much longer in the fandom use, but the second one was just as passionate for a while.

Iida becomes the second friend, and gives her the "Infinity Girl" nickname- which actually is the fandom assumption of what her hero name will be for quite a while, a la 'ground zero'.

Then it's time for All Might's first appearance on screen, to much applause of the students, and the announcement that they get their costumes.

During the first battle exercise, there's a lot more lingering camera work in the changing rooms. Ochako gets to expand a lot more on how she didn't want her costume to be that tight. It's uncomfortable, especially when she thinks about wearing it in front of everyone.

"Oh, I forgot she didn't like it at first... Does she just, get used to it here?" It sounds horrible for the plot to just say 'get used to it' to the main character being sexualized by costume makers outside of her control, especially as a child.

"Not on my watch." I mumble, waving the wand. "Don't worry, she'll actually get more costume changes each time, like some other characters."

"Oh good."

Mineta, regrettably, still exists. You find the fandom manages to be even more violent in his removal.

The battle does even out the opinions on Midoriya, as well as lead to a boost in Iida's with his charming little attempt at thinking villainously.

And cements Bakugo as rather hated. No one has really liked him, when the first thing he did was blow up at Midoriya, then get revealed to have called him a cruel nickname all this time. And then specifically hunt him down because all he cares about it beating him up.

"Yeah he's not gonna get a lot of fans here huh."

"He sure never gets first place in the popularity poll." I agree. "Most consider him the subversion of the rival trope to show is just stupid and violent and in real life, people like that don't go anywhere."

"Most?"

I look away. "How dumb of a discourse do you think you could see today?"

"Oh please, show me." You lean in. "It's nice to not have to deal with it in my universe, so I don't care."

The discourse is such.

Bakugo is gay-coded for Midoriya, the violence is a result of him being shoved off for a girl's love interest when she should be single and independent, and the homophobic creator is vilifying all gay people by saying they are predatory to poor straight boys with refused.

"They............... What."

"If it makes you feel better, that's a very brief minority of the fandom. My favorite response to it was "he's not gay-coded, he's bully coded you sanctimonious sumph of a shmuck.""

"Oh good," you sigh. "I'm glad we don't have to deal with actual queerphobic tropes like that."

I stare at you.

"What?"

I sigh. "Nothing, put a pin in that until I bring up the predatory bi thing with Toga."

Your eyes widen, and you start to have some regrets.

"Anyway, we can talk shipping later. Time for more."

The 'exit sign Iida' gives him a boost in being shipped with Ochako, (as well as Yaoyorozu) and also the general idea that "Ochako has two hands."

That one hand can have a boyfriend with a lot of cash to spare for her and the other is also played with.

"I missed the main trio, like this." You smile as they walk off into the sunset after school.

"Yeah." I agree. "Anyway, time for some near death experiences."

The USJ marks the start of the gradual, gradual growth of Dadzawa fics. It also focuses far more on Ochako, Mina, Sero, and Iida having to think strategically to get around Kurogiri. It's only after Iida escapes that we cut back to a slightly abridged version of how Midoriya was doing, then the other kids, before help arrives.

He does still through his first non bone breaking punch though, which makes the audience happy.

All Might saves the day. Aizawa is battered afterwards. Many fans start out by saying they were disappointed, since this was supposed to be the first big fight, and the kids didn't do much. Many others say in response that's the point- we're looking at first years, they had to think and help each other, but in the end they had to rely on adults.

And then the sports festival is announced. They want to do well, because this is how they get work-week placements, which could become internship offers.

Ochako thinks about Hado Nejire, the only intern of a top ten hero, and senior at UA, along with a few others who are on the up and up. She's determined.

"Really? You're bringing in the big three early?" You ask, glancing at my wand.

It's not sparkling.

I cross my arms with a huff. "Look. Nejire is at this point the only intern in the top ten, she would have been recognizable to the students for that, even if they didn't recognize the big three (which really means that they aren't actually called the Big Three by everyone, or at least not a wide enough group for it to be as big a deal as it's treated. Anyway.) But she wasn't, even if she should have been the most famous of the bunch, considering the coverage the first years got in just their first night. That's because a certain someone doesn't actually think of his female characters much, but he has to in this universe, so."

"Ok, yeah, that's fair. So does that change the sports festival?"

"Not... Much." I admit.

“What?”

“Well, keep in mind in the first universe, our main character didn’t make it past the second round in the one-on-one’s. So she’s not exactly guaranteed a win here either.”

You have to nod, admitting that is true.

“And the conflict isn’t so much about having to live up to any predecessor or breaking down some people’s walls via breaking bones.” I tap my wand against my chin, thinking. “There really is two- one about Midoriya, and one about Ochako’s parents.”

“Oh?”

“One, there’s been the Uraraka’s not happy about how much danger Ochako’s been in. Its been hinted at in the phone calls, but really shows up when we get to see them at home before the SF for the first time since she moved for school. They aren’t sure if she can stay there herself, or if the right thing to do would be to pull her out and maybe try a smaller school.”

“I suppose that's fair, if they haven't been able to actually see her or her progress.”

“Right. The second one is- well. in this, Izuku’s win of the first round, and then breaking out of brainwashing, is more about really piling on how good his mind is- all that brain power. This adds more pressure when we see Ochako being offered a plan from him to beat Bakugo.”

“Oh that does sound neat.”

“Yep- but of course, she still refuses. It’s held up as a worse thing, strategically, initially- but then she comes up with a plan that Midoriya confirms in the stands is better than his, and proves to her parents that she’s smart and skilled enough to handle continuing at the school.”

You smile. “That is a cool arc to do, i guess, if very not traditional. But what about all the character setup and growth with Shinsou and Todoroki?”

“Oh, Shinsou’s largely gets delegated all the way later for the joint training arc, where Ochako’s team is directly against him. Todoroki...” I begin to giggle.

You wait for me to answer, getting more concerned the longer i laugh.

“Pocket?”

“Sorry, sorry, yeah. He actually tells her himself in this canon, a bit after stain. Oh! right, i forgot- the cheerleader incident.”

“Oh no.”

“Oh yes. of course they need this merch opportunity! But yes, it happens. The... shall we say, non-body-pillow portion of the fandom, generally saw it as the end of any goodwill to Kaminari, who had previously been seen as a tertiary possible love interest, since he’d flirted with her on the first day. Flirt, but harmless, and unlikely to be important. Then there was that breach of trust and international embarrassment, and anyway he’s basically the second least likely in 1a to be shipped with her now.”

“Wow. So none of that changed?”

“Well, the setup wasn’t under narration from Todoroki about how his mother was bought for her body and how much that sucked and impacted her and the family while on screen we see multiple girls tricked into barring their bodies and its treated as a laugh instead?”

You stare at me. “I’m not sure if that’s better or worse.”

“Neither am I.”

“So, the Todoroki reveal?”

“Right. So, first you need to know the Stain thing- the claims he has against ‘false’ heroes focusing on money is better spotlighted. After Stain’s arrest, Ochako hears a couple of sidekicks at Gunhead’s agency-”

“Wait!” you interrupt. “She still interned with Gunhead? Then what was the point of showing Nejire and Ryukyuu earlier?”

I try not to massage my forehead. “To build up to it. She only made it to the first of the final round, she couldn’t get an internship with a top tenner yet. She’s also got to learn how to disarm someone who fights with a knife. These things build up over more time, small steps.”

“Ah.” You’re satisfied, and let me continue.

“Right, so, Overhears a couple of them talking about Stain’s philosophy and ends up just feeling really bad about it for a bit, trying to figure out if she’s actually being selfish or a bad hero for, you know, wanting her family to not be crushed due to capitalism.”

“Poor girl.” You shake your head in sympathy, the freeze. “Oh. did not intend that pun.”

“It’s alright, i know what you mean. And yeah, she bottles it up for a bit, until the second day back at school. Then Iida reminds her that him bottling things up last week got several kids in mortal danger, and she begrudgingly admits that he has a point and tells them about what has been bugging her.”

“And they comfort her?”

“Well, Todoroki also offers to tell off Kaminari because at this point his mention of stain upset both her and iida, but yes, A lot of reassurances.”

You squint. “I feel like shippers.”

“You’re learning! Yes, Todoroki is just a bit behind Iida in terms of popularity shipping with her. and she does basically get shipped A Lot with each girl in her class too, like imagine double to triple the amount with each girl now, and for the minor guys- but yeah. There’s a lottttt of ships. This was basically called ‘todoroki’s introduction into ochako’s harem’ in the fandom.”

Shipping. fandom just can’t escape it.

“So, then she learns about Todoroki’s past? oh, and what about Hosu? Does she- and everyone else- actually think Endeavor saved the three??”

I snort. “Oh, no. Todoroki’s flat ‘yeah my father totally helped us, as you read on the official report’ basically tipped the fandom off that something else had. But nothing confirmed either, you know? Filling in the hosu gap is another trope in fics that is pretty common.”

“Neat.”

“Yep. But yeah Todoroki tells her his backstory a bit after his introduction into her ‘harem’ of friends. It’s really played up more to caution Ochako- its alright for her to want to help her family, and to work for money to do that. But Rei accepted the marriage offer for money for her family too, and it ended up breaking her. Ochako has to accept a balance- she can work to help her family, and its good, but there are some things she cannot morally do to help them, and other things that she shouldn’t do because she has to take care of her own health first.”

“Ohhhh.” You hadn’t quite expected that, but you sorta liked it, now that you thought about it.

I smile. “It is pretty neat, yeah.” I glance at my watch. “Look, i hate to cut you off, but this post is gonna end up thrice the length of Mirio’s and i think tumblr might stop me, so we’re gonna have to do a two-parter.”

“That’s fine.” You are gracious for what you’ve gotten so far, and do have questions that you’re excited to see answered for the rest of the series. “It’s been fun.”

“It has been.” I agree. “Lets take a break, but you can ask me any questions too, before I return for part two.”

<part 2>

#other main characters meta series #seriously u may send questions i will try to adress in part two #but yeah wow that got long #see you in part two

[likeabxrdinflight]

Sorry about putting that author in the ask so here is my question without that again: What is it about Azula that causes fandom to become sadists. Espeically when the main characters, and Avatar in general, don't pursue revenge since they realize it doesn't lead to justice? Besides has Azula been punished enough, she lost her brother, friends, father, sanity, throne, and freedom? What more do people want Azula to suffer? Losing her bending?

Personally, yes, I think Azula has been punished enough. I’m also a believer in rehabilitation over punitive justice, so this is one of my real world beliefs that really colors how I look at stories. I think I’ve always been a “mercy over justice” kind of person, and it’s one of the few things I’ll speak positively about RE my catholic upbringing. I was taught mercy and social justice at a young age- catholics can be surprisingly passionate about these issues. 

Anyway, my point being that I don’t think punishment does much, if anything, to help people change or get better. There’s actually science to back this up, albeit it’s mostly studies from kids- punishment is not as effective at changing behaviors as reinforcing positive behavior is. Punishment is more likely to be associated with ways of avoiding getting caught or in trouble for the problem behavior, and less likely to be associated with the actual, positive changes that parents want to see.

I think you can apply this to criminal justice as well. Locking someone away or inflicting punishment on them is really more about vengeance than it is about seeing justice done. And it certainly isn’t 100% effective at helping someone change their behavior- take one look at the rates of criminal recidivism (the tendency to re-offend) to see proof of that.

So there’s not much to be gained by inflicting unnecessary punishments on Azula. She would be better served by a rehabilitative approach meant to help her learn new ways of looking at things, understanding how her behavior, family dynamics/history of abuse, and cultural background have been causing her problems, and learning better communication and coping skills. 

But I don’t think most people watching this show have extensive psych training, so they see a villain who hurt the main characters they know and love, and want to see her pay some consequences for her wrong actions. This tendency to want revenge under the guise of justice is...very common. A lot of what we call justice is really just revenge in a nicer packaging. And revenge is...it’s very human. We want the people who’ve hurt us to feel that same pain, it’s honestly really natural. And if you’re an empathetic person who identifies with the characters in ATLA that Azula hurts, or if Azula reminds you of someone in real life who actually hurt you, well...you get people who want to see her suffer more. 

There’s very much also a cultural belief in the US around suffering. It’s one part Christian hegemony and one part widespread beliefs about the utility of the prison industrial complex...we’re taught from a young age that prisons keep us safe from the “bad guys” and that they exist to “punish bad people”- that’s considered a good thing. Then there’s the cultural Christian idea that suffering is a good thing- through suffering, one becomes closer to the ideal that is Jesus Christ, and positive change can occur. Anyone raised in a Christian environment has, to some extent, probably absorbed elements of this ideology, whether or not they now practice the faith. It’s everywhere in American culture. I don’t believe it’s necessarily unique to Christianity, this idea that growth comes from pain. But it’s certainly very visible in Christianity given the most iconic symbol of the faith is a literal Roman torture device.

Now to be clear, I do agree that Azula needs to change. But to say she “needs to suffer the consequences of her actions...” she already has. That was the entire narrative purpose of her breakdown. There’s nowhere to go but up. That was the point. 

#Anonymous

[aliensunflower-fics]

In Defense of Salt AND Sugar: Aka ML Fandom pls chill out.

So I don’t talk much as those who follow me will say I tend to just stick to myself and my own things. HOWEVER, Ive gotten a lot of asks about why I write both Salt and Sugar for Miraculous Ladybug.

The short answer: Both salt and sugar are valid, fun, intriguing things to read and write and the point of writing is to entertain and be entertained.

The long answer: Salt isn’t inherently someone hating on your fav show and sugar isn't someone necessarily giving it a free pass either. Ya’ll are just dramatic as hell.

The LONGER answer:

I write salt because I LIKE Miraculous Ladybug, BUT the show has not lived up to its potential AT ALL. The show could be so much better and the characters are so flawed or full of holes that occasionally I feel FRUSTRATED and mad!

I hate that Alya a character who I was so excited about, gets shafted ignored, sidelined, or written like a jerk! She could have been this great detective working alongside her friend to unmask the villain, but instead she often comes across as pushy, obsessed with Ladynoir or Adrinette, and so damn easily tricked. Not to mention how when shes not gushing over her ‘ships’ shes pushed to the side and ignored. [or you know... LILA]

I hate that Marinette’s crush makes her do things that are so cringy and awkward i feel ill I hate that she’s constantly the only one making mistakes and ‘learning lessons’ when the show has all these other great characters that could use the spotlight and be the ones learning lessons. I hate that she’s so jealous and that she cant ever seem to catch a break as if the show is punishing her constantly.

I HATE that Adrien is a mary sue, how the writers say hes perfect and treat him as such, I hate that he gets to guilt Marinette into fixing everything and dealing with bullies, I wanted a funny, Ron Stoppable, naive boy who learns about real friendships and grows into a great partner. Instead he gets to be pushy and downright a jerk as Chat Noir ignoring his responsibilities, guilting Ladybug with his feelings, never taking no as an answer. He’s not a good role model for kids.

I hate that Chloe got built up to have a redemption arc several times only for the writers to decide that Chloe a teenage girl who needs some serious therapy [and actual reasonable punishment for her actions] is worse than Gabriel child abuse Agreste. She could have been a great lesson on compassion and growth and dealing with your own pain without hurting others. Instead the writers wrote her off completely.

And dont get me started on how the show treats Nino, Kagami, Luka and the rest of the cast. They may as well be a backdrop for the forced love square that we NEVER get a break from. Seriously I’m a sucker for romance but does it need to be EVERY damn episode?! Can’t we just get some wholesome friendship between everyone including Adrien and Marinette at this point like COME ON.

And i’m not even touching on the white washing, awful lessons on responsibility and forgiveness, awful lessons on well so much other stuff really, the guilt trips, the teacher, the fact that she show could be used to teach kids how to better handle negative emotions and the importance of open communication and not keeping quiet about injustice and/or your feelings but instead decided that the main priority should be a love square that gets force fed to us EVERY SINGLE EPISODE.

My point is the show has FLAWS. That doesn’t mean its the worse show ever and it doesn’t mean its not fun, and has a great premise and characters, and so when I write Salt I write it because i’m frustrated! Im frustrated with the show, with the characters, with the writing and so I vent that out with salt I write those characters as their worst selves because I cant stand how the show has decided to treat them and Im ANGRY and disappointed.

It feels good to write salt and to read it. It’s nice to see characters get called out for bad behavior, its nice to read about Adrien not getting the girl. Its nice to occasionally indulge in salt because it validates that the show is flawed and lets you get out that frustration.

BUT ON THE FLIP SIDE

Miraculous Ladybug is a lovely show. It’s a show that decided to give little girls a FEMALE HERO. And not just as a side kick or background character! No they made her the protagonist! Its so important to me that little girls see good well rounded female characters in media.

And even if the show is clumsy about it they are TRYING to build an expansive lore that tickles the theorist brain. And gets people invested in the world.

The show also made Marinette shy, and awkward, and clumsy something a lot of girls deal with during puberty as growing up can literally make you clumsier as your body adjusts. Having a character who tries to be positive and tries to find solutions who solves things with creativity instead of pure violence. Thats LOVELY for young girls to see.

Growing up I loved and admired Kim Possible, and probably would have loved Marinette, even if the shows not perfect I can admit its trying and I can see why people love it as much as they do! And why they write these fluffy sugary fics its the reason I WRITE fluffy sugary things.

Because even though I am frustrated and angry and disappointed with the show, I still see Alya’s potential and how great she is as representation to little girls who want a black female superhero so I write fluff where Alya’s loyalty, compassion, cleverness and her pursuit of justice are center stage.

I see how Adrien could be better and I want him to be better and I WANT him to be the naive funny comic relief the Ron Stoppable to Marinette’s Kim Possible. I want Adrien to grow and learn and spit in his dad’s face I want him to overcome the abuse and be happy. To show people that neglect and abuse doesn’t mean you will get stuck like that forever, that you can overcome that and be a better kinder person.

I want Nino and Kagami, and Luka and Chloe and the class to grow and get attention and have funny moments I want to laugh and make other people laugh! So I write prompts focused around comedy and shenanigans and where the characters get to be fun and silly and make decisions for themselves!

SO IN CONCLUSION:

I write salt AND sugar. I see the value and merit in both sides of the coin, and I respect how other people see the show. I know its easy to get angry with other people in the fandom who see the show differently then you do but please can we put down the weapons and just BREATHE.

Someone who writes salt might LOVE the same show as you, and they might in fact love it so much that they vent their frustrations in angst and salt and cracky fics. Let them vent about how they wish the show was better, leave their tags alone or block them if you cant stand to see it. But dont attack salt writers for ‘hating on your show’ when they might love it just as much as you do but want a way to vent out their feelings.

On the flip someone who writes sugar might NOT be forgiving the show for its flaws, they might see all the same flaws as you but decide to take that frustration and write fluff and fix it fics and sugar because they want to indulge in a version of their favorite show where everything is just... OK. Where everyone is well written and happy and the character development sticks. Stay out of their tags let them have their sugar, they aren't writing it to hurt you just like you don't write salt to hurt them.

So ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each others tags. Let people write SALT if they feel angry and vengeful and disappointment, let them have their tags, let them explore the dark side of the characters, let them rant and rave and be HURT when the characters they love upset them with their actions. Its not your place to tell them to stop, to tell them their feelings are invalid, to tell them that ‘adrien is sweet sunshine boy how dare you’ or ‘alya would never’ or ‘i hate your marinette leaves dupont au’. Just leave it be, heed the tags, and let it go.

AND ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each other tags. Let people write SUGAR if they just want something to feel happy about. Let them makes coffee shop au’s, let them make fix it fics where everything is just happy without needing 8 pages of backstory for why everything is just happy. Let them squeal and gush and talk about the ship they like and the fluff they see. Its not your place to argue with them that the show is flawed, its not cool to ruin their fun by accusing them of not understanding the flaws, to tell them ‘umm actual this character shouldn’t get to be happy’ or ‘wow this is so shallow’. Just leave it be, heed the tags, and let it go.

PS: Now with that said and done. I do have one final message for everyone - If you write/enjoy pedophilia, if you sexualize KIDS. Then get the fuck out of fandom spaces, stop fucking following me, and do everyone salt and sugar a favor by LEAVING. Your pedophilia and child sexualization aint wanted, aint ok, and I will fight you.

PSS: IF YOU HATE WHAT IVE SAID ABOUT SUGAR AND SALT FINE OK I RESPECT YOU REGARDLESS. ENJOY THE SHOW, STAY CLASSY, DONT HURT PEOPLE BECAUSE THEY HAVE A DIFFERENT OPINION.

#its just me #ml salt #ml sugar #adrien salt #adrien sugar #alya salt #alya sugar #chloe salt #chloe sugar #miraculous ladybug #marinette dupain cheng #adrien agreste #alya cesaire #class salt #class sugar

[testudoaubrei-blog]

TL/DR - Catra is a uniquely complex and compelling character who has -so much going on- compared with most characters in any medium. Her character arc is psychologically astute, morally powerful and dramatically compelling, and it pushes the boundaries of the audiences sympathies in ways that are really groundbreaking for a kids show, and her arcs conclusion celebrates love, growth, and the power to change in a way that is all too rare in TV for grown ups.

Content note for mentions of suicidal ideation and self harm.

Well, now that the summary is out of the way, here’s a massive fucking dissertation on why Catra is such a great character.

This is the first of a series of posts outlining things that make She Ra a truly great show, one that stands out even 15 years into a golden age of TV animation for kids. This isn’t going to be a comprehensive account for why the show is great - the real answer is that this show has so many arcs and so many fully realized characters and they are all growing and changing in ways that interact with each other and complement each other so well. But I’m going to highlight some particular standouts, things that this show does better than anything else, things that made me step back and say ‘holy shit they did this in a show pitched at 10 year olds?!’

And so the first of these posts is about Catra. I’ve never seen a character in a kids TV show like Catra before. Depending on the season, she’s an anti-villain, an outright villain and an anti-hero and then, in the end, a hero. Being glib, I describe her in villain mode as a Saturday morning cartoon Supervillain as written by like, Dostoevsky. She’s got the trappings of classic villain camp - long speeches, sneering, over-complicated plans, she’s oddly ineffectual at times etc/ Yet all of this is underlaid and justified by something much deeper - her feelings of rejection, her desire to lash out at everyone around her, at her self-hatred and hatred of everyone and everything else (at least by Season 4. Good God.) And her actions are as dark as her motivations - she nearly destroys reality out of spite, betrays literally everyone who cares about her (often multiple times) and isolates herself so completely that in the season 4 finale she is a solitary, suicidal wreck of a person. Hell, in her last fight with Hordak, I was definitely rooting for Hordak (to say nothing of Glimmer, who is a pretty impressive antiheroine, like if Sparkles had just blasted her into glittery oblivion would we have held it against her?).

Let's start by discussing trauma. It comes up a lot with Catra for obvious and good reasons. But I almost feel like that word is insufficient for what's going on with Catra, or at least, we shouldn't stop with it (I know there are terms like complex trauma, but rather than simply using those I want to explain the difference between Catra’s consistent abuse and a single traumatic event). To use another example from a different show, Korra was also traumatized in season 4. But she was traumatized by a series of an events when she was a young adult. She had something horrible happen to her, and it fucked her up, and then she had exposure therapy with Zaheer and at least starts to get better. Catra...Catra is much more consistently abused. It's not just that shadow weaver traumatized her with the various acts of torture, but that Shadow Weaver taught Catra both an explicit worldview and a series of coping mechanisms that she struggles with through young adulthood. First, Shadow Weaver trained Catra to seek her approval. This is something she is particularly vulnerable to with Shadow Weaver, but also what she does with Hordak and to a extent Double Trouble. Catra's instinct when people mistreat her or show that they aren't trustworthy is to invest further in the relationship, until the breaking point. By contrast, when people treat her well Catra lashes out or takes them for granted. This is uh…a dymamic I am acquainted with among people who have been abused as kids, people whom I love. It is pretty rough.

She also developed a desire to prove herself. This starts off being tied to her drive for approval, but combined with her competitive streak (which is expressed in both healthy and unhealthy ways with Adora) it turns into a desire to beat Shadow Weaver and then Hordak at their own game.

At the same time, Catra learned by always being blamed for everything to evade and deny responsibility, no matter what. I think this form of self reassurance is tied to her self doubt (I think at some level she does think she is worthless) and her self hatred. It is also enabled by Adora’s martyr complex and willingness even act as Catra’s punching bag (as we see in the flashback in Corridors). This is a dynamic that actually repeats in an even worse fashion with Scorpia. Far from being arrogant, her constant evasions, put downs against others and preening speeches sound like the words of a woman who is trying to convince herself most of all. This tendency borders on narcissistic self delusion by season 3-4, which she begins recounting her version of events and possibly believing it even when it is obviously false, and everyone knows it.

When it comes to worldviews, Shadow Weaver taught Catra that love is about control and manipulation. We see this in seasons 1-3 where she congratulates herself for manipulating Adora when all she has done is take advantage of Adora's lingering love for her. Meanwhile, she’s learned that power is her only protection, and that the only way to stay on top is to abuse those beneath her.

The final kind of static tendency in Catra is her identity in the horde and her view of herself as one of the bad guys. This is something she rarely articulates but underlies much of her her decision to stay and not join Adora (at least at first). I think one thing to consider is that even if Catra never believed horde propaganda, it may have made her cynical and unwilling to imagine something better for herself or the world. Another factor is having struggled to belong in the horde for so long, she isn't going to give up now. At first this ties into her desire to win the approval of shadow weaver and Hordak, then it comes from her desire to prove herself better than them. Another factor is her self hatred. She sees herself as someone who hurts people, perhaps as a monster. She sees herself as a bad guy and so team evil is her side.

So yeah, our girl is kinda fucked up.

And yet Catra is never reduced to the sum of her traumas and bad habits. At every step of the way she is shown as a moral agent. She is shaped by shadow Weaver's abuse but she remains aware of and responsible for her actions. This is a double edged sword. She is fully responsible for her actions, but also she is never shown as broken by abuse or mental illness. She’s fully responsible, but by the same token is also redeemable, because she still has a choice.

So with that our of the way, let's go to Catra's arc.

I’m not going to recite everything terrible Catra does because I’m still on my first complete rewatch and I honestly find it hard to list it all. It’s a lot. So let’s talk about her shifting motivations. Early on, we see her desire for approval and recognition motivating her in ways that are so easy to sympathize with - she’s been told she’s worthless for years, and she wants to be worth something. We see how much she’s been scarred by Shadow Weavers abuse and by the ruthlessness and callousness of the Horde, and can sympathize with her desire to survive and advance since her own position is so untenable. We also see how, at first, she wants to be reunited with Adora. Her first huge turn into much darker territory is Promises, when she tries to kill Adora in order to permanently sever her connection with her own life and eliminate a possible rival for advancement (should Adora ever return). She’s told herself that she doesn’t want Adora back, and at least partly means it. Yet we still show her care for Scorpia and Entrapta and even Shadow Weaver in Season 2. It’s when Catra realizes that Shadow Weaver has chosen Adora over her once again that she takes her darkest turn. It’s not just that she destroys reality out of spite, it’s that she rejects her chance for a better and happier life, betrays every friend she has and focuses single-mindedly on hurting Adora (and arguably herself) and then on surviving when her attempt fails. Then Catra spends an entire season both fully inhabiting her role as a villain (and not a sympathetic one - really only our history with her leaves us sympathetic) and being utterly self-destructive and miserable. At the end, as mentioned, she’s a broken, suicidal wreck who has destroyed everything she’s strived for. If this was an HBO drama, we’d roll credits here and she’d go down as another self-destructive antihero. It would perhaps be too much to call her ‘Walter White as a catgirl’, but still. Of course, her story doesn’t end there.

Something that is incredibly dark that is happening in step with this is Catra’s hardening of herself, indeed, her dehumanization of herself. We see her struggle with her natural compassion, her kindness, her need for connection, her desire for happiness, and we see her ignore it all, stamp it down and nearly snuff it out. This is a huge factor in her descent into becoming a real villain (no ‘anti’ qualifiers needed). Every step of her descent is a struggle for Catra - not going with Adora in the second part of ‘The Sword’, trying to kill Adora in ‘Promise’, going back to the Horde, betraying Entrapta, lying about Entrapta, threatening Scorpia, destroying the world - but she always chooses evil. And with every step she becomes more isolated, more callous, and more cruel. Her default reaction becomes not just bravado and mockery and insolence, but threats, bullying and intimidation, until her management style is identical to Hordak’s, and indeed, is quite a bit worse. Catra starts off fighting for Hordak and Shadow Weaver’s approval and struggling to survive, and ends up cackling maniacally at her brutal and murderous conquests. She has very deliberately turned herself into a cruel conqueror, and a tyrant. This self-dehumanization is a huge part of evil in the world, I think, and it’s really powerful to see it so clearly in a kids show.

Meanwhile her insistence on evading all responsibility finally results in a self-serving, self-protective narrative that insulates her from responsibility or self-examination but also cuts her off from reality and other people. It’s always a bit unclear to what extent her various untruths (about Adora leaving her, about Shadow Weaver’s escape and her concealment of it not being her fault, about Entrapta betraying Hordak) are things she believes, lies she is telling to have power over others (mostly Scorpia) or things that she doesn’t quite believe but is trying to convince herself of. It’s probably all of these at various times, and in different degrees for each lie. The end result is that Catra is even more alone, because only she inhabits the safe cocoon of lies she’s built around herself. It also is the key to her and the Horde’s downfall - Catra is so isolated and in such denial that she can’t see how thin her forces are spread, and this crack shows up even in episode 1 of Season 4, with her insistence that the Princess Alliance is in shambles (when, in fact, it’s already rebounding, and proves more resilient than she allows herself to believe, and is led by a woman as ruthless and determined as herself). This part of Catra’s arc brilliantly shows how deception (of yourself and others) can feel protective by keeping shame at bay, but ultimately is destructive and strips someone of so much of the intellectual and moral qualities that we call ‘human.’ It’s also chilling to see since we’ve seen the end game of this mentality play out in US national politics, at the highest level.

I said at the opening that we’ve never seen a sympathetic character like Catra in a kids show. What about Zuko? I would argue that Zuko is never a cruel, or as callous, or as self-destructive as Catra is at her worst. Zuko is motivated by a desire for recognition from his abusive father (much like Catra is initially motivated by desire for recognition from Hordak and Shadow Weaver, and indeed Adora), and perhaps a desire to belong in the Fire Nation. All of this gets wrapped together in his ‘Honor’. He’s a young man with a very weak sense of what he truly believes, instead relying on external guides to what he should do. He’s also incredibly self-involved, and initially indifferent to anyone’s pain but his own and anyone’s needs but his own need to restore his honor. Uncle Iroh is there throughout to push Zuko both to see the needs of others and to become his own person. Zuko’s redemption arc, then, is a twofold quest to recognize other people and to find his own moral center and act from it. This is a pretty powerful coming of age story in that it is about him becoming his own person and throwing off the shackles of his upbringing. Politically, it’s a powerful story of a young man taking responsibility for his own actions in an authoritarian regime and refusing to participate in its imperialism any more and to embrace a new way forward both for himself and his nation. At the same time, in some ways it is easy to sympathize with Zuko because his greatest crimes are those of weakness - he’s not strong enough to stand up to his nation and his family until midway through the last season. Catra though...Catra does what she does, eventually, because she wants to hurt people. She’s cruel, and spiteful, and destructive in ways that are truly scary and which prevent any excuse or mitigation.

Which brings up the other comparison - Azula. But while Azula is (somewhat inconsistently) shown either as a monstrous child sociopath or a traumatized and broken child who can’t help it (and thus, perversely, as not a moral agent but something like a monster), Catra is consistently shown as a moral agent. Catra chooses her own path, every step of the way. She has so many chances to do something else - Adora’s offers to leave together in the two-part series opener, Promises, Scorpia’s suggestion that they dessert the Horde and become desert gang leaders, etc - and until season 5, she turns them all down. While Azula seems destined for evil and madness, with Catra we see a young woman very deliberately walk down the path into unmitigated evil with both eyes open. And then we see it destroy her.

And after she is basically destroyed, we see her build herself back. This process actually starts in Season 4 with the creeping realization that even when she is winning she is miserable and alone. She doesn’t even notice Scorpia is gone for several episodes, then she completely loses it. She spends the entire time when she is at her most triumphant isolated and raging and borderline incoherent, as ineffectual as she accuses Hordak of being. She’s won, and she’s alone, and she’s the most unhappy she has ever been, and I think for the first time she realizes that. And that’s the worst blow to her, even before all the external things come crashing down. She’s already miserable before Double Trouble and Glimmer deal her a triple coup de grace of destroying all her armies*, turning her and Hordak against each other and then Double Trouble’s epic evisceration. By the time Glimmer shows up, Catra is, as mentioned, literally suicidal. But she’s also already begun the process of changing in that she knows that she has a problem (her, and her self/other-destructive tendencies). Moreover, she knows, at some level, that what she really wants isn’t conquest, or to prove herself as the baddest leader of the Horde, but love - and she’s seen how she’s squandered that at every opportunity.

Let’s just pause for a moment to observe how much better Glimmer is at villainous machinations than Catra. In a couple episodes she makes a faustian bargain for unlimited power, kills all her enemies armies, sets her two chief foes at each other’s throats and literally cripples one while rendering the other helpless. And given her ironic non-answer about hurting Catra (‘we’re the good guys, remember?’ and the fact that she’d tried to kill Catra twice before**, she walked into Hordak’s sanctum fully intending to end Catra’s life, one way or another. She does all this through ruthlessness, recklessness and treachery, and she could give like, a TED talk on villainy. Of course it also blows up in her face and is actually way worse than the portal did in Catra’s, endangering the whole universe (I always assumed that the portal only threatened Despondos), dooming Etheria to invasion and all that. Of course, Catra pulled that switch and then fought Adora knowing that the world was ending, while Glimmer was just ignoring warnings from...just about everyone, including Shadow Weaver. So yeah, Glimmer, best kids show antihero since Princess Bubblegum***(unless we’re counting Catra as an antihero, which works for the first half of season 5).

Anyway, at the beginning of Season 5 Catra is adrift. Though some interpretations, like TV tropes, see her as immediately falling back into old habits and casting her lot in with Prime, I see her actions from the end of Season 4 onwards as more ambivalent. She seems to be kind of...going through the motions. She doesn’t have any of the drive or passion in her plotting that she once did, she seems to be maneuvering into Prime’s good graces out of habit. At best she’s back in the survival mode of early season 1, but without the ambition and desire to prove herself that motivated her. Some interpretations put a lot of stock in Prime being someone that can’t be bargained with or appeased, but...I don’t buy it. I take him, to an extent, at his word when he says that he was ‘exalt’ Catra (I am sure it is something awful). Catra actually gets what she wants halfway through “Corridors.” Only it’s not what she wants. She’s done jockeying for advantage, especially in a world where she truly would be alone because all she has is this psychopathic narcissist and his clones for company. She wants connection. She wants to do what is right. She’s suppressed all her humanity (felinitity? Anyway) for years and it’s made her miserable, and now she’s ready to embrace it. At the same time she confronts her own culpability, seeing just how much harm she’s done and admitting it for the first time. Her first lifeline is Glimmer, the only person she can actually talk to, the only other Etherian, the woman whose mother she doomed and who has nearly killed her three times. But Glimmer is also going through her own dark night of the soul - Glimmer and Catra’s character arcs were converging at the same time that Catra’s and Adoras and Glimmer’s and Adora’s were diverging. And they come together on either side of that forcefield, just talking and being people in an environment that is designed to be as dehumanizing as possible. Even this barest lifeline is enough for Catra to hold on to for dear life, and enough to inspire her to not just feel bad about the bad things she’s done, but do something good.

But the first way she does this is a cop out. Her plan, like Shadow Weaver’s in the finale, is to sacrifice/kill herself doing ‘one good thing.’ That way she doesn’t have to figure out how to live with the consequences of her actions, face the possible rejection of the people she loves whom she’s wronged, and do the hard work of building herself back up as a better person. She gets to die a hero rather than live as a villain. That said, unlike Shadow Weaver she does at least get off one apology, and it makes all the difference.

Then Adora fucks Catra’s sacrifice up, in glorious, space operatic, gay AF pulp fiction fashion, by saving the cat. Catra is mind controlled or unconscious for most of this episode, but what she does do is so crucial. When Adora comes for her, she reaches out to her, as soon as she is able. She doesn’t push her away, she takes Adora’s help, and her love, and Adora does the rest in badass fashion. The next few episodes plus the so perfect its canon Don’t Go are my favorite part of Catra’s entire arc.

She nearly falls back into her old habits, at least partly. Now that she has to live with what she’s done rather than just dying for it she just wants to run away again. But when she has to choose between losing Adora all over again and confronting herself and her past, she chooses Adora, and asks her to stay.

Catra then spends the rest of Season 5 slowly easing herself into the very human world of the Princess Alliance - the comaradery, the dedication to others and a cause, the goofiness. I’m going to talk a lot more about her relationship with Adora in my Catradora post, but I do want to highlight three moments.

The first is Catra running away again. This is actually a big change from what she’s done before - she’s not leaving because she’s angry, or bitter, or spiteful, she’s leaving because she doesn’t want to see the woman she loves sacrifice herself yet again (maybe this time for good) after being manipulated by the woman who had abused them both. But then she comes back. And then she confronts her abuser in a way that she has never done before - for the first time in the series, she not only calls Shadow Weaver out but calls her to do the right thing, and doesn’t give up until she does (this is after Adora also calls SW out and cuts her off forever, meaning that her two charges have finally called her on her bullshit and chosen each other over her, more in my Shadow Weaver Rant...and I guess my Catradora rant).

Then, at the end, Catra both stays with Adora through her potentially fatal harnessing of the Heart of Etheria and then her comes in and rescues her by challenging her to do something for Catra and for herself. Not to be with Catra, or to kiss her, or love her, but just stay for her. Needless to say, Adora responds far more enthusiastically than Catra had dared hope. (more on this in my Catradora rant).

Catra starts the show convinced she doesn’t need anyone except Adora, and she’s willing to even push Adora away if she can’t have Adora on her own terms. She goes down that path - ambition, manipulation, treachery, cruelty and isolation - until she has nothing left. She then slowly, painfully, turns around and reaches out and begins to heal the pain in Etheria and the universe rather than causing more. This is a psychological journey in many ways, but even more than that it is a profoundly moral one. It is a story of her accepting responsibility for her actions, facing reality, reaching out to others and making amends. It is in every sense a redemption. And while it works perfectly with Adora’s own development into her own, fuller, happier, healthier person, it works not because of Adora or the power of love, but because of Catra herself. Adora’s companionship, Adora’s rescuing of her and holding her to account, all of these are necessary for Catra to change for the better. But in the end it is Catra herself who chooses the right path, maybe for the first time in her life. And that’s what makes the romance work in turn - Catra is motivated to change not simply by a desire to impress her girlfriend or by Adora’s shining goodness (to the contrary, Adora’s a healthier and less self-sacrificing person at least in the finale...she comes around later than Catra) but by her desire to be true to herself and seek out what she really needs and wants - which is love, and connection, and to do good rather than evil. It’s a gorgeous story that takes an antihero all the way down to hell and then back again, and this makes it a truly unique redemption arc in all of kids TV - not just because of how far Catra falls, but how far she travels overall.

*(I know a lot of fanficcers talk about there being a lot of Horde Soldiers left but like...in the show...they’re nearly all dead, guys. Glimmer and company...okay mostly Mermista... just about killed them all in an afternoon. The cadet Triad survives because they deserted and weren’t there to get drowned/frozen/suffocated by plants when the grand invasion of Brightmoon went sideways)

**Okay, once she was only an accessory to Shadow Weaver’s attempted murder of Catra, the other time she leaves Catra for dead in ‘Pulse’

***I stan PB so hard guys. So hard. Machiavellian genius, mad scientist, god figure, possible Nietzschean Ubermensch? She’s so great. So great.

#she ra #she ra adora #she ra catra #spop catra #redemption arcs

[aspoonofsugar]

What do you think Cinder thinks and does when she finds out that Salem wants to destroy the world?

Hello anon,

I have answered here and honestly on many other posts by now :''') just check my Cinder Fall tag.

In short, I think that by the time Cinder discovers the truth she will be too deeply under Salem's control to escape, but will be saved by the protagonists (Ruby and maybe Jaune).

After being saved, Cinder will probably go through her change arc and find redemption. I think she will be key in saving the world, but she will probably die while doing so, in a parallel to both Pyrrha and Penny.

Psychologically, she will have to face she has been stuck in her childhood the whole time and this is gonna hurt. I also think that Emerald and Mercury are gonna be key in helping her see the truth.

Apart from that, let me say that I think Cinder’s arc has the potential to be one of the best in the series. I surely think she is one of the best written right now.

I also think I disagree with two major takes (or at least two takes) I have seen going around.

1) Cinder has degenerated as the result of a corruption arc hence she is less competent

2) Cinder is going through an arc that makes her a better villain

Let’s just say that I do not think they are wrong, but for me I think that Cinder’s arc as for now is not really about change (neither positive nor negative). It is about stagnation and being stuck in a cycle. What has changed is not really Cinder herself, but our perspective of her.

Basically, I do not think Cinder’s “change” in volume 8 is the result of a character arc, where for arc I mean a change or a growth that is thematic. Cinder neither learns nor embodies the message of the arc.

Very schematically, a character can arc in two (main) ways.

The character knows the message of the story hence her arc is about having this belief challenged. Penny’s arc is written this way. She knows the thematic truth since the beginning. That friendship is important and that people must be loved and trusted. She does not have to learn it. However, the story challenges her to see if she can keep on believing it. In her case, the challenge is so harsh that she ends up dying. Still, she affirms the theme (friendship and trust) in her death and inspires Winter to believe into these values as well.

The character does not know the truth and must learn it. Emerald is currently going through a change arc, which is yet not completed. She believes that love is what Cinder offered her and that she needs to trick others to be accepted. She si slowly learning this is not the case.

Now, obviously Cinder is going to go through a change arc eventually. That or she is having a tragic arc like Ironwood where she fails to learn the truth and dies miserably. Very unlikely with her set up, though.

However, in the Atlas arc Cinder very clearly does not change for the better. I would say she does not change at all deep down. She is merely back to the mask she used to wear at Beacon. She believes the Maiden Power will solve her issues at the beginning of volume 1 and she still believes so at the end of volume 8. Similarly, she manipulates people at the end of volume 1 and she still does so at the end of volume 8.

In short, the Cinder at the end of volume 8:

And the one at the beginning of volume 1:

Are really not that different.

Sure, Cinder is now more powerful because she has become better at using the Maiden power, but at her core what Cinder has done is not really to discover something new about herself. She has merely been rediscovering her major asset, which is manipulation.

Again, Cinder has always been a master at manipulation. This is nothing new.

In the Beacon arc she manipulates both allies and enemies, so that she can tear down the school.

In the Mistral arc, she tries to manipulate Raven and manipulates Neo.

In Atlas she manipulates Ironwood, Penny and later on basically everyone.

So, it is not really that Cinder needs to learn how to manipulate people or how to be smarter... she has always been one of the smartest characters in the series. Even when she loses she shows a manipulation streak. So, the volume 8 finale is not really a surprise. It is just Cinder back in top form and at her most dangerous.

So, why do we spend so much time on Cinder if she is still so far away from the resolution of the arc? Was it all useless? Obviously no.

It is because through her experience in Mistral and Atlas we are able to see the psychological mechanism behind her mask of powerful and manipulating woman. Behind this persona there is a child with no control over herself.

Basically, Cinder “becoming worthy” is not her learning from her mistakes... it is the cycle of abuse at its finest.

Here you have the carrot:

And here you have an unwilling stick:

Salem nurtures Cinder’s weak ego by giving her life value. Watts reminds Cinder that this value is conditional.

It is not by chance that Watts is the one who tells Cinder this because Watts embodies Atals’s philosophy, which is a philosophy where you do not have value in yourself. You have value for what you do and for what you accomplish. It is really not by chance that Atlas is full of chess symbolism.

It is because ultimately in Atlas people are no more than pawns. And Cinder, once she arrives in Atlas becomes a white pawn herself:

This is why her hair ties go from red to white while in Atlas.

Cinder enters a game bigger than herself and her only hope is to make it all the way to the other side of the chessboard, so that she can become a Queen, a Huntress. When she fails to do so she drops out of the game.

Now she is back as the Black Queen and is reminded not to drop out again. But the point is that she is still a pown. Slightly more important, true, but she is not free. She has merely changed players.

So, basically. What we have seen in volume 8 is how Cinder is stuck into a cycle. Salem punishes her enough to make her very frail sense of self crumble. Then she throws her a bone to give her new energy and new willingness to prove herself. All the while Cinder is reminded at every turn that she may very well go back to nothing in an instant because in the end her worth is not within Cinder herself. It is something Salem gives her.

Finally, I do not really think that Cinder lying to Salem proves anything because... Cinder has been willing to disobey Salem since the very beginning. It is precisely because of this that she fails in Mistral and is disgraced. Cinder refuses to see herself as Salem’s slave. She wants to become like Salem and Salem knows it and feels the need to put Cinder in her place whenever Cinder crosses too many lines.

This is why Salem comments on how Cinder likes collecting assets (which is something Cinder takes after Salem) only to steal one of Cinder’s pawn (Mercruy) from under her nose.

Salem and Cinder’s relationship has always been a relationship of power and of Salem struggling to keep Cinder under control. This is why it is so interesting and I am curious to see where it goes.

Anyway, anon, sorry for blabbering... I think I went off topic.

Thank you for the ask!

#rwby #cinder fall #asksfullofsugar #anonymous

[fantasyinvader]

Beat Binding Blade tonight

So, right off the bat I'm going to admit. I abused the arena and save states. This is a really, really hard game. And while I enjoyed it, I'm going to give three things I didn't like about it.

1)Enemy reinforcements arrive at the end of the player phase, and can attack during the enemy phase. That is unfair, especially when I assume that parking a unit on the spawn point will prevent them (It doesn't) or my healer just happens to be in the area. I like difficult games, but when I fail at something in those I want to feel like it's my fault for doing so. When I die in Bloodborne or lose a unit in Fates Conquest, I'm willing to accept it because I felt it was fair (plus I'll just restart the chapter in Conquest anyway). I could have not died if I had played a little better. This game was not fair when it did that.

2)The supports. A lot of the stuff about the characters is locked away in their supports, since this is one of the old Fire Emblems where it throws units your way because it's assuming you didn't reset the game when one died. They don't get cutscenes to be important, and with only five supports per character (barring if one dies, then any unit that had supports with gets those supports back). And even then, getting an A rank doesn't pair up any units except for Roy. So you don't get to play love doctor here, it's only really there for the stat boosts. But in the case of my boy, he needs those supports in order for his character to fully come through.

3)I can take 8 units into the final battle, and they're the only ones who get full ending cards. Everyone else just gets a single line. Kinda weak if I use someone like Fir for most of the game, but bench her at the end to give Rutget Durandal.

Even with my cheating, I still enjoyed this game. Mostly for the story. When Fire Emblem first appeared in Smash Brothers Melee, as a kid it instantly caught my attention. Roy and Marth just looked so cool with their swords and armor (true fact: My favorite design for Link is the Skyward Sword design, simply because it has chainmail under the tunic. I get it, the tunic is iconic but SS's Link just looks practical), and I preferred Roy because I though his fully-charged shield breaker hurting him was cool. I even keep a Cipher card of his in my wallet for good luck. I wanted to know what Fire Emblem was, what kind of game it was. My friend showed me a screenshot of the upcoming GBA game in Nintendo power, which I got for the following Christmas (sadly, I didn't get Sacred Stones as I got a PS2 the following year). I loved that game, but the idea that I was playing as Roy's father always was a bit of a sour point for me. It's because of that game when I got a 2DS a decade later, because I wanted to game but kept getting pulled away from my console, I eventually went back to Fire Emblem.

And, I'm going to admit, Binding Blade hurt me because I played Blazing Blade first. It really did. I mean, Hector dies early on, Lyn is presumably dead hell a lot of my old comrades probably died in this war, Eliwood's wife dies shortly after they are married while Eliwood is more useless than ever, the kid I saved in Bern becomes a genocidal maniac, and the fact that the characters of Blazing Blade kinda caused this to happen by releasing the seals on the Legendary Weapons in their own quest... It kinda bugs me that the Legendary Weapons I used in Blazing Blade are in their trap filled storage places. Like, who returned them there? And if I have characters from that game returning in Binding, I find it strange they don't comment on needing them again. But this is a case of the game trying to be a prequel to a story that wasn't written with it in mind.

But at the end of the day, one thing just kept popping up in my mind. Binding Blade is the antithesis of the Crimson Flower route from Three Houses. I know they said Genealogy of the Holy War was an inspiration, but I can't help it. I've seen so many people try to praise that said route as some sort of denouncement of the rest of the franchise. That it's about putting power in the hands of the people (it's not) instead of having some Lord be the good king. Granted, the Mandate of Heaven seems like it's a running theme of the series, so without understanding what that is I can understand why people don't grasp what that part of the message. But Binding Blade, it just hit so many things on the nose that I needed to say something.

So without further adieu, I'm just going to bring up a few points.

With Regards to Humanity

It's interesting how both Zephiel and Edelgard come at this from different angles. Sure, they both lead wars of conquest across the entire continent, and I'm guessing Zeph didn't tell his troops what he was planning on doing once he won so there's likely a level of deception going on there as well. He really doesn't care for his fellow man, and the game goes out of it's way to show us why. Hatred, greed, or even selling out your people in the name of self-preservation. The game doesn't shy away from showing us any of this, saying that it's wrong and thus why Roy has to kick some guy's arse. Zephiel knows this, but in Edelgard's case? She's out there fighting for absolute power, destroying anyone who won't bend the knee to her while those who do out of self-preservation like House Gloucester are rewarded for it.

In essence, Edelgard is everything Zephiel saw wrong with the human race, she is why he felt we needed to go extinct. The very things he condemns humanity for are the things she reward. Zephiel would have actually handed over power to those he felt deserved it if he had won, whereas Edelgard is demonstrably shown to hold onto power until near the end of her life. One wants humanity dead, the other wants all the dragons. They even oppose each other in their classes. Edelgard is based on the red emperor archetype, she wears red, her class is the heavily-armored Emperor and her weapon of choice is an axe. Zephiel is a king, armoed but wearing purple and he uses a sword in battle.

Even if they both have screwed up history with their family's due to their father's inability to keep it in his pants, they're both presented as villains despite being ideologically opposed which goes to show with Fire Emblem the method IS the message.

Ancient Wars, Super Powered Weapons and Lies.

War of Heroes vs. The Scouring. The former is an event where the full details are shrouded in mystery, up to the player to piece together the clues and figure out the truth for themselves...or in Crimson Flower's case, ignore the truth and act out in your ignorance.With Binding Blade though, when the truth starts coming out, it hits hard. I mean, right from the beginning of the game we're told man was the one who broke the peace by attacking the dragons, but then we learn that those legendary weapons messed up the environment, resulting in dragons needing to use human forms only to be slaughtered by man. Dragons were blamed for the environment, the people who used those weapons were revered as heroes. We don't know why mankind launched their attack, but we do know that they weren't able to slay the Demon Dragon, one who had her soul destroyed in order to control her, because the Heroes felt sorry for her. It's making dragons out to be the victims here, much like the dragons in Three Houses. But Crimson Flower only serves to demonize them, acting like they can't understand humanity when the dragons in that game are a lot closer to humans emotionally than the ancient dragons in Elibe.

The Elites in comparison weren't heroes, and that lie has been confirmed as Rhea trying to make peace.

The good ending for Binding Blade is being able to save the dragon whose soul was destroyed, whereas Crimson Flower ends with slaying a dragon after you've spent the entire game triggering her (and is the ending that leads to oppressive rule under Edelgard, in addition to the only ending without sunlight. What? You thought you'd get the good ending when her final boss theme was playing on the last stage?). Also, you need all the Legendary weapons in order to unlock the final stages, which all play into the big mystery. Crimson Flower requires the player to not understand that the world-building was done to support fighting against Edelgard instead.

Merits of a leader

Let's not beat around the bush here, Roy will not carry you through Binding Blade. His bases are low, and while he has good growths he is unable to promote until the very end of the game. Even then, you need to save the Binding Blade's usage to ensure you get the good ending. Roy is also very unsure of himself, thrust into a position of leadership despite his young age. But look at what happens when he succeeds, he manages to overcome the odds and take down the mightiest army on the continent. At the end of the game, he's shown himself as more than capable of leading. Not to mention, he also believes that humans and dragons can live together, even seeing this in Acadia (and if Ninian was his mother, he's unknowingly proof of this as he is 1/4 dragon himself. May explain his poor bases). If he marries Liliana, he even becomes a King for likely much of the same reason Byleth does in SS/VW (most leaders are dead following the war, plus combining his territory with Ostia which had already taken over Lyn's land after she abdicated/married Hector). Roy learns the truth as already established.

Compare this to Crimson Flower Byleth. Byleth leads the Black Eagle Strike Force, but credit for it goes to Edelgard. Byleth never gets any recognition for this, no position of authority despite proving themselves, instead that goes to Caspar Jenkins of all people, and ends the war continuing to fight TWSITD from the shadows to support Edelgard's regime. And if you read between the lines, Edelgard is NOT a good leader, resorting to bribes, threats, cronyism, secret police, propaganda, and even TWSITD's support and later stolen tech in order to maintain her rule. Byleth lost whatever emotional development they got from White Clouds during this route, once again becoming the Ashen Demon, and is even willing to let themselves die if they can't keep their “humanity” in check showing a distaste for their own draconic heritage (showing humans and dragons can't live together in this timeline). They didn't grow into being a leader, they devolved into being Edelgard's unthinking muscle. Byleth never learns the truth in this route, falling for Edelgard's manipulations resulting in them losing Enlightened One/Nirvana status.

Not to mention, Heroes Relics have really low weapon levels. In theory, they can be used by anyone but only safely by those with Crests and most fully with a matching Crest. Legendary Weapons, on the other hand, can be used by anyone with an S rank in their type. Your characters have to EARN the right to use those things and you'll need them to deal with all the Manaketes during the final level, whereas Relics aren't exactly that level of broken.

Honestly, seeing the ending of Binding Blade and Idunn recovering put at least one tear in my eye. Crimson Flower's just made me feel like the game was calling me an idiot (which considering the Nirvana/Enlightenment thing, it kinda was). I would love if Binding Blade got the Echoes treatment, or even if they just did a GBA collection for the Switch. But after all these years, one thing is as certain now as it was when I was a kid.

In this house, ROY'S OUR BOY!

[sweetnightlullaby]

As I was watching shang-chi (which was a great and entertaining movie btw, some spoilers below) I realised how we need more female centric films, even blockbuster ones that aren't just oh a masculine lady who can kick ass.

No I mean a whole character heroine journey (the Joseph Campbell way) about maturing and finding her way and all the variations that can imply.

Give me the story through the woman's perspective, the growth, the anger, the grief, the grey morality everything male action protagonists have been praised upon and women (look at Daenerys or Wanda) have been called as *shock face* mad villains.That's some bulshit right there and a shallow understanding of a multi leveled character but because their stories are been told through male writers ( yeah I see you g.r.r martin) or through a male protagonist the male audience must identify with (and the female audience has learned to do as well), we never truly explore or bother to understand the women in films.

God how can a woman be anything more than a secondary character, a loving mother, a mad bloodthritsy man hating (most of the times abused) woman, a sexualised teenager etc.

Back to shang-chi for a sec. Imagine a film with xialing as it's main character, we never saw much behind her badass image (which was pretty satisfying I must say), to her own trauma, her own head to head meeting with her father, her own grief about her mother, her journey of leaving as a kid a traumatic life and finding her way to the top. It's just.. frustrating.

Because we have seen the father and son archetype and clash and reconciliation many many times in cimena (which is predominantly male dominated) but never the mother and daughter archetype and relationship, the clash also, the kindness and all the emotional depth. The matriarch and her heir.

There's just so much unexplored space there and so many young girls and women who are thirsty for something to identify and ponder with, to see themselves and take pride in.

I'm sorry but even tho it was a good movie and we need this representation of asian culture, it could be so much better if marvel just stopped being marvel for a sec. I rolled my eyes so many times when his father was literally abusing him but never got called on his bulshit by either him or his sister and we got a montage of them locking eyes in the end as he gave him the ten rings (like thanks dad but what about all the psychological and physical pain I endured through my childhood, guess we'll never mention it again).

A part I did like was how the siblings switched places a bit, with shang-chi taking his mother's caring role and xialing taking her father's leadership (which again would have more impact if she developed a relationship with him, negative or positive).

Okay I'm done rumbling. The summary of that is that we need more action packed blockbusters about young girls and women and their journey of finding themselves. Also more films about women in general and the portrayal of abused women, angry women, vengeful women without bias (there's been a slight shift in that), also the portrayal of queer women with loving realationships (just imagine a black widow film where Yelena and Natasha weren't sisters but friends to lovers, okay I will stop now).

Finally, this all ties back to the first ever morally grey woman I saw on tv. That's Morgana from BBC's Merlin and of course she is viewed as a villain through our main characters lenses and good vs evil philosophy but she was such an interesting character, both kind and cruel. Just imagine an ending *potential spoilers*of Merlin and Arthur fucking of in the distance to become farmers and be gay together( like please) and Morgana with a*you can't change my mind*heavily queer coded Morgause rule Camelot together with acceptance of magic and a fresh chapter in fantasy and mythology and storytelling . It isn't hard. Of course one would argue this isn't how the original tales go, but this is art, it's fiction based on the Arthurian legends and you can expand and shift them as you desire, in fact you should explore their many sides(which the green knight with dev Patel did really well).

Okay I'm done for real now!

#shang chi #shang chi spoilers #marvel commentary #films #movies #female protagonists #film theory #storytelling #merlin

[iturbide]

the fact that edelgard is the villain in 3/4 routes and yet intsys STILL glorifies her to no end enrages and annoys me. no other villain has been given that perspective of “well actually maybe they arent so bad” except for the hypocritical tyrant. even when she has *literally become an inhuman monster* intsys is still like “oh no dont worry she was right actually!” and it upsets me deeply

It upsets me, too, friend.  IntSys seems to really like glorifying people who don’t deserve it, especially in recent games (Walhart in Awakening, Rudolf in Echoes -- I can’t say if his whole ‘orchestrating a plan to have his son murder him’ thing is carry-over from Gaiden or not, but it definitely exists in the recent remake so I’m including it), but Edelgard actually ends up as a bit of a weird case. 

(I have a lot of thoughts about this, so I’m just going to cut preemptively.)

Now, I’m actually not opposed to Edelgard being the protagonist of the fourth route in Three Houses.  Anyone who’s been here a while knows that I generally see Grima, a figure that IntSys generally tries to paint as a rote villain, as at least a sympathetic villain (and possibly even a secret hero in the events of Awakening itself); it’s entirely possible for someone that’s a villain in most of their appearances to have legitimate reasons for what they’re doing and why, and revealing that in their personal route could be incredibly powerful if done well. 

And here’s the thing: Edelgard really is a compelling character, in large part because of her moral ambiguity.  I actually agree with her when she says that the Church of Seiros is corrupt at its core and the system needs to change.  She’s right about that!  While Seiros might have had decent reasons for establishing things this way, over the past thousand years human societies have changed while the church itself remained stagnant -- something potentially exacerbated by her selfish ambition to restore her mother -- and this has led to a structure that once served an important purpose becoming a toxic and destructive mess for humanity at large.  Edelgard has a completely valid point there, and it’s something that I could absolutely get on board with if she had gone about achieving change in some other way, because she does have other methods available to her that she writes off without real reason -- and even that can relate back in part to her deep trauma and difficulty trusting people after the betrayals she faced at the hands of her “uncle” and her own father’s powerlessness to stop the nightmare she and her siblings suffered through. 

IntSys probably could have crafted a narrative that showed from her perspective why she believed war against the Church was the only valid option available to her.  The issue is that she undercuts her own argument by targeting all of Fodlan, rather than specifically going after the Church: she doesn’t give the Kingdom and Alliance a “stay out of my way or else” warning, she literally turns her sights on the Kingdom as soon as the monastery falls and attempts to fully annex it once Cornelia sets up Dimitri’s fall, leaving the Alliance only because she has her hands full with Faerghus.  She didn’t have to take Cornelia up on her offer of making the Kingdom into the Dukedom of Faerghus and sending troops to finish the job: she could have just left the woman to her own devices, forcing the Twisted to utilize their own people to maintain and secure full control of the region while she worked on addressing the systemic issues, which would have had multiple benefits:

The Imperial Army doesn’t get overwhelmed and exhausted fighting in conditions they’re not equipped to deal with, leaving them stronger overall while the Twisted forces are potentially weakened by the same

Hubert is able to better assess the threat they’re dealing with, including learning their capabilities and possibly even where they’re coming from before Merceus

Edelgard actually puts her money where her mouth is and ends up helping the people she claims to be doing this for, rather than just using them as fodder for the war to grind up

Unfortunately, the way she’s written ends up just making her an imperialist.  She’s not just going after the corrupt core of the Church, she’s trying to forcibly unite the continent and return Fodlan to some long gone ideal where it was all united under the Imperial banner because she refuses to believe that Adrestia could have split by natural causes.

Crimson Flower ultimately ends up being a particularly egregious example of this glorification phenomenon in action because they give her a personal route that makes no effort to critically examine her actions and make her face consequences for them.  This, I think, does her a massive disservice as a character, because that aforementioned moral ambiguity that makes her so interesting could have been utilized to great effect -- and the proof is actually there already, because they do it in Dimitri’s route.

Dimitri is himself another interesting character, and outwardly presents as Edelgard’s polar opposite: he recognizes that he doesn’t have all the answers, struggles to figure out the correct course of action when presented with difficult subjects that have  no clear-cut answer -- like the fact that reliance on the Crest system is toxic for noble families, but it’s those very Crest-bearers and their Relics that help keep Faerghus safe from invasion by Sreng -- possesses incredible strength but specifically refrains using it in most cases to avoid harming others, and generally takes everyone’s problems onto himself to his own detriment.  He’s also deeply traumatized and was never given a chance to deal with it in a healthy manner, which contributes to how he snaps -- and Azure Moon starts with Dimitri being so far out of reach that you can’t unlock any of his supports and can’t even engage with him in the weekly discussions.  He’s lost himself to his survivor’s guilt and need for vengeance, considers himself to be nothing more than a monster, and has no qualms about killing if it helps advance his quest; as the story progresses, he faces a direct consequence for this murderous inclination in the form of Fleche who attempts to exact vengeance for her brother’s sake in the same way that he’s attempting to claim it for his family and friends -- only to lose Rodrigue, and have his dying words be a plea for Dimitri to live for himself rather than those who died before him, at which point Dimitri sets his sights on opposing Edelgard rather than killing her and seeing to atone for the crimes he committed.  While I think the game made the change a little too abrupt, it’s handled well overall, and shows a real development arc complete with both actions and their associated consequences that directly relate to Dimitri’s growth as a person.

Contrast this to Edelgard in general and Crimson Flower as a route.  Edelgard believes that she has all the answers despite not trying to engage with anyone outside her own House, decisively chooses what she believes to be the right and proper course of action regardless of how difficult the subject matter, possesses great strength (both physically and of sheer will) that she uses to dominate others, and forces others to join her in addressing what she sees as problems -- such as her line about making her own people into “worthy sacrifices” for her “higher cause.”  Crimson Flower is the only route where her attack on the monastery fails to capture Rhea, but once Byleth returns she sets her sights on attacking and subjugating a territory that has remained entirely neutral through the past five years, turns on the Twisted while she’s still in a vulnerable position which ultimately causes the deaths of at least a third of the forces she left at Arianrhod once they fire their warning shot, lies to her friends and allies about what happened there, murders her step-brother, and allows a city full of trapped civilians to burn unchecked while she deals with what she considers to be the “real” threat on the opposite side of the Faerghus capital -- and all of this is capped off with her never dealing with the Twisted, and cute little endcards that talk about how everything worked out fine and there were no problems ever, The End.  Edelgard doesn’t get a development arc in her route: she’s never challenged, she never faces real consequences (and the one she does face she literally lies about to her friends and then leaves as a problem to deal with later), and she pretty much ends the game exactly where she started it: completely assured that she made the right choices.  The moral ambiguity inherent in her character is instead cast as “of course she’s in the right, she’s so great and there’s nothing at all wrong with what she’s doing or how she’s going about it, isn’t she wonderful?”

At least in the main game, Hegemon Husk Edelgard is treated with real gravity, shown as the pinnacle of her drive to see her ambition come to fruition and the tragic consequence of her inability to change course and find another path.  The Forging Bonds event just takes the CF brush and paints her actions as the right ones, even though what made her so compelling is that her reasons were right while her methods were horrific.  Edelgard really could have been wonderful.  The potential is right there in her character.  But IntSys completely botched the execution of it, so that her route feels rushed, incomplete, and at best unsatisfying (or, if you’re me, utterly disgusting for how it glorifies imperialistic conquest), and her Heroes appearances only make it worse.

#answered #anonymous #fire emblem: three houses #edelcourse #look i really do find edelgard to be interesting #i just find intsys' execution of her character to be utterly terrible #and fandom at large has kind of made it worse #i'm just going to keep the nuance and explore the real consequences #and write a ton of fanfiction to that effect

[kitkatopinions]

Leave it to RT to make me hate plot points I wanted. I wanted Winter to be the Winter Maiden, I wanted Salem to win, I wanted Whitley to not be treated like the worst person ever, I wanted Emerald to be a redeemable character. All that just flopped.

Hard agree on... Literally all of that. XD

I also wanted Winter to be the Winter Maiden (and before volume seven, I’d theorized that maybe she already was one,) but having the powers go to Penny, then get pulled away due to CRWBY making a contrived story and forcing her totally unnecessary death, making her give the powers to Winter, in order to drive home the message that Ironwood is one hundred percent bad and now that Winter isn’t following his orders, she can have the powers... I’d have rather Winter didn’t get the powers at all. They could’ve kept Penny alive and had Cinder steal half the powers like she had with Amber. They could’ve had Jaune or Pietro accidentally be the last thing Penny thinks of, and therefore the powers go who knows where. Winter looks great as the Winter Maiden, but because CRWBY chose to make everything needlessly complicated, the whole situation was more or less pointless, and now I wish Winter hadn’t ever been slotted to receive the powers in the first place.

I wanted the villains to have a win, but I wanted the protagonists to be present in the real world long enough to start feeling the effects and face consequences, and I wanted it to be because of Cinder learning and changing too. I was actually impressed and excited because they were finally doing something somewhat interesting with Cinder and displaying that when the villains learn and work together, they actually outmatch the heroes, and Ruby and the others need to learn and grow to compensate. But then, they took back any growth with Cinder and they successfully separated all our main characters (and Jaune, for some reason) from the world of Remnant, possibly for a whole volume so they can’t feel the effects. And not only that, but now Salem is in a much worse position and... Really doesn’t seem like a threat, currently. She has only three people left who seem like they’re even on her side, and one of them has proven herself a brat who always puts her own agenda first, but never gets killed for her actions because I guess Salem plays favorites, and one of the other ones (Mercury) might just leave her too. It makes her seem non-threatening, it makes Salem seem weak, like her people are just self-destructing themselves and the heroes happen to get caught in the crossfires here and there. I barely even consider it a win for the villains since Cinder took out Watts, the best villain on Salem’s side, and then betrayed Neo. Also, can I point out that out of the four deaths we got (which I literally said I wanted at least four deaths omg,) only one of them was a hero. One was more or less Ironwood’s henchman who then had a ‘we’re friends, sacrifice himself for his friends’ ending that felt like it didn’t matter because he was the most non-character member of an underdeveloped group. Another was Watts - who became one of the most enjoyable characters of season seven and eight only to be murdered by Cinder in his prime. Bad choice imo. Another was Ironwood, presumably, after his character was destroyed, he still managed to have a sympathetic death, but it’s wholly unsatisfying for me because I’m still sitting here going “What was the point?” And they forced him into a villain role too. And then, counting earlier deaths, Hazel, another villain. Only Penny was someone I feel like we were supposed to even care about enough to be sad about her death.

I wanted Whitley to be treated like he wasn’t the worst person ever and made this big post about how I’d be happy with anything so long as he got a bigger role. And to be fair, Whitley was one of my favorite parts of the season. I didn’t mind his interactions with Weiss. What I minded was how quickly they acted like things were completely resolved, how they never really addressed Weiss’s own problems and her flaws in their relationship, having Willow act like a caring, doting mother out of nowhere with Whitley just smilingly accepting it, having Winter never express an ounce of care or much recognition of Whitley, having Whitley and Weiss now separated, so there isn’t a chance for them having more interactions at least for now and maybe the next whole volume. It’s not that I wish Whitley hadn’t been involved, though, so... I guess there’s that. Whitley’s plot was severely lacking, but not enough for me to wish they’d left him out of things.

And then, as for Emerald, you’re right, I really wanted a redemption arc for her. But I’m entirely unsatisfied with how rushed it is, with how everyone can just laugh with her and trust her, with how they thought a little bit of groundwork was just enough to convince everyone she’s a good guy now  and that the heroes should just... believe in her. They let it go without consequence like her former, terrible actions didn’t even matter and didn’t really need to be worked through or addressed. Our good guys have stupid little teasing moments and laugh about Emerald saying something about being on their side when she’d been attacking Penny with Cinder mere episodes ago...It’s so weird. CRWBY’s lack of real growth and evidence of change in Emerald makes her seem like a weak character and make our heroes look really stupid and reckless. I almost expect Emerald to drop them with no warning and go run off to find Mercury after maybe severely wounding one of the heroes because there’s no way she suddenly changed that much, except that CRWBY has such a bad track record when it comes to making jumps with their characters and their dynamics without providing real growth. It’s so unsatisfying that it’s making me dread what they’re going to do with her in Vacuo. I totally wish she was still a villain, if only so they could give her organic growth and a more convincing arc.

But yeah, RWBY volume 8 really is just the season of really good concepts that just aren’t executed very well, or walked back on, or too caught up in plot points I already didn’t like. Some of it’s my own personal likes and dislikes, some of it I feel I can safely deem just kind of poorly done. That’s not to say there’s nothing to like about Volume 8 - Like I said, some of the Whitley stuff was good, and there were other good things too - but on the general whole, Volume 8 was just a disappointment to me.

#rwde #rwby bashing #rwby hate #anti rwby #anti-rwby #anti crwby #crwby bashing #rwby criticism