#which is wrong. There is no form of love that is greater than the other

[r-r-raf]

"QPRs are romance lite" "QPRs are friendship premium"

Insane concept but what if. Hear me out. QPRs are an entirely different relationship based on the wants and needs of the individuals involved

[mina-org]

part one - part two - part three - part four - you're reading part five!!

You were being such a bitch.

simon had called endlessly, do you know how annoying getting a new number is? sent texts, sent emails and what did he get back? fuck all.

He knew he was in the dog house but you got a new phone so you couldnt dwell on past text messages anymore but simon knows he was shitty so he starts sending gifts. he can't really remember what you liked, he knows you wanted a fancy baking thing and he couldn't go couldn't go wrong with cash!

Too bad you already brought the thing, at least you something to sell.

Thanks to the the cameras simon also got a front row seat to see as you stuffed his letters into the bin, not even opening them, bit cold love:(

You sigh, closing your eyes as you take a sip of your drink. You've been feeling so bright lately, the last month was fucked, all the stuff with simon and his mohawk maned sidekick, followed by minor stalking and than losing your fuck. it all worked out though.

now you were here! so all that stuff was behind you, now you were focusing on your self, hitting the gym and eating good, deleting social media and focusing on your education, you were even looking forward to go for a food shop, maybe you'd treat your self to a pack of cookies from m&s. While you were with he who shall not be named you felt so insecure, simon had a comment for all it from mocking your avocados and bringing up your failed stint a veganism. just couldn't breathe properly around him.

you're so glad he's gone.

now? peace. bliss.

You knew better now, casual was something you couldn't do. At least simon taught you that.

now your sat in a cafe typing away, sipping on a drink you thought was pretty, everything so perfect!

Until the new barista taps on your shoulder, he explains that your card payments be declined, which is fine! you just got paid, you have money!

your heart beat spikes as it declines, and then again. all you can do is excuse yourself as you check your banking app.

it's all gone. All your wages just disappear.

Definitely Simon's fault, not sure how but you're sure Simon or Johnny will come in and save the day, playing knight. You watch the door but Simon's behemoth form never shows and johnny's jackal like laugh never cuts through the tense silence.

no, they watch from a van outside. both pushing each other to get a better a view, but their effects are fruitless, they can see the outline of you, they're pretty sure it's you anyway. It's not enough to satisfy them.

you stew in panic a little while longer until the barista interrupts you once again. "my mistake love, looks like ya had a free drink on the app." you blink up at him, did this place even have an app? you wanna question but he's already retreated to the counter.

you begin to pack up your shit, you to get this shit sorted. You're grabbed, it's the new barista. at least he's friendly usually the workers are so cool here, it makes you stumble.

"can't forget breakfast love, most important meal 'nd that." you nod, force a smile it doesn't cover the anxiousness and thank him, you're on auto-drive. You wished you be more, you, but can't. you need to figure this shit out.

Soon enough you're on the phone to the bank and they're just saying its been frozen. for fucking fraud.

you cant spend money, withdraw money. literally your money locked away and your bank is useless.

what are you supposed to do?

you were fucked. Up shits creek and fasting being pulled under

they watch as your hands run over your face, you're crying.

Kyle is uncomfortable at the sight, the others are indifferent, Kyle knows it apart of the greater goal but you were glowing this morning, now you were sobbing on your couch, on the verge of having a panic attack.

you scroll through your phone, but theres no one you can call, your closest friend had just stopped talking to you all together and your parents weren't gonna help you, barely being able to afford their mortgage, never mind whatever you were being charged in London, calling them would also just allow them to use it against you in the future.

they watch as you finally open the take out box, hunger and anxiety screaming at you to eat, what the barista had slipped you?, a pastry! score, and a number signed sabre.

sabre. you read it aloud

that a cool name you think to yourself before texting him, you need to thank him for saving your ass earlier and it'll be nice to talk to someone.

simon can't help the jealously that bubbles up. as a phone pings and he knows its not here

taglist: @skeletonsucker @supernova2205 @wh0re4-alexademi @grr457 @gh0st-spid3r @sweetlittleblackrose @aceywaycy @mooievis @theadultoedge @cheese-pull @imtherain@h0e-02 @misscaller06 @lucilleifer @cherryflavoredguts @junitries @aneternallyexhaustedpigeon @drewsphswife @just-lilita @bvrnxy @crempuffie @erintaro @skyfire93 @my-little-evil-blog @alexalix-z @littlemiss-it-girl

[ceaselesswatchersspecialboy]

Offering an NPD perspective on Ford Pines, because I feel the most common discussions surrounding his narcissistic traits tends to go in two ways — from what I’ve personally seen — and that’s defending him, and denying the mere possibility he may have NPD because it’s seen as a negative, or using NPD as a way to villainise him, and thus demonise NPD. Or, the alternative, this part of his character is completely overlooked.

That isn’t to say I haven’t seen some wonderful analyses on Ford and NPD, rather, I find it surprisingly lacking when his character might be some of the best representation of my own experience struggling with narcissism (alongside Bill).

I believe a lot of it stems from the misconception and stigma around NPD, and the fact Ford goes again common, typically incorrect, ideas, such as showing genuine care for other people, and accepting his failures and where he went wrong in the end, trying to repair his relationship with Stan, and realising that he doesn’t need to be recognised worldwide, as he’s found happiness with his family instead. All of these do not correlate with the media idea of a narcissist, but the fact is, narcissists are no different from any other disorder or mental health issue. We come in all different forms, and the idea we are inherently abusive or evil is such a widespread misconception that it becomes difficult getting help or support.

And that’s why I find Ford so important.

This alone, to me, describes in simple words how it feels to deal with NPD, and though you could argue Bill is projecting here, I think the point is they’re so similar, the lines blur. Both struggle with this same mentality, but Ford is able to reach out, and accept help, and Bill lets himself sink deeper and deeper into his own lies. Also, I’d argue it isn’t Bill projecting, because we sees evidence of this behaviour in Ford in the show and the journal.

He’s someone who believes himself destined for greatness, and won’t accept the bare minimum, such as when Fiddleford suggests he publish his research as is — No, he can’t have that. He has to be the one to uncover this grand theory. He has to have his name cemented amongst the greats. He believes himself to be special, different and more capable than other people, and yet he longs for the company of others all the same. He lives off of validation and praise, and strives for it, his own ego clashing against his lack of self-worth. Bill’s manipulations work on him because Ford eats up this sort of validation — it’s like one big high. It’s confirmation he is special. He is meant for greater things. He was right.

Ford notably struggles with empathy, which is likely both related to his autism, and also his narcissism. Other people simply don’t make sense to him. It takes effort for him to be able to understand people where they’re at, and he is willing to put in that effort notably, taking note of Fiddleford’s habits for example.

He also does struggle with manipulation and being deeply self-centred. A great example being Dipper’s apprenticeship. Ford is very subtly manipulating the situation here, and he doesn’t even notice, which is, in my own experience, common with NPD. He’s also unable to see Dipper and Mabel as, well, Dipper and Mabel, rather putting his own issues with Stan onto them, especially Dipper. He sees Dipper as a younger version of himself, and is trying to point him in that direction, never thinking whether it’s actually right for Dipper, or whether it’s for himself.

I could probably go on, like how he tends to have a black and white view of people, with his opinions on them easily flicking between extremes as a method of coping, or how he panics at the idea of his life’s work being destroyed, despite knowing the dangers.

Whether you agree he has NPD or not, Ford definitely has a lot of narcissistic traits, and yet, despite that, despite every mistake he’s made, everyone he’s pushed away, he gets a second chance. He gets to be loved and understood. He finds happiness. He gets to recover.

It’s very rare that characters with so many narcissistic traits get endings like that!

Ford is not a bad person because he’s a narcissist, he’s just a person, one who’s fucked up, and who’s still learning, and still healing, and that’s why he works. That’s why he’s such a comfort.

On a final note, If you are someone who’s going to argue vehemently against this idea, I kindly ask you simply scroll by!

[krispycreamcake]

I keep seeing a lot of misinterpretation when it comes to Ayato's and Yui's relationship, which is completely understandable.

BUT, I feel like we should at least be open to understanding their dynamic a bit more, considering that their relationship is a representation of how these two fleshed out, individual characters with their own archetypes and narratives interact with one another, and the kind of chemistry that festers between the two.

I heavily emphasize on the "understanding" part, because yes, they are 2D characters, but I'd like to go on a whim here and say the creators used these fictional people as a sort of criticism on the kind of society we live in, and how we as people view the differences between good and bad and where the line starts to blur and intertwines.

People will often mistake Ayato's abuse and trauma as just his personality entirely, which while his past may have had affected the way he interacts with others, I'd like to say that it doesn't absorb him completely, and to back this up, I'd like to reference Laito.

Unlike the rest of his brothers, Laito is completely unique to us the viewers, because of his lack of actuality and genuinity. Yes we can attribute both traits, or rather, lack thereof, to the other brothers, but at their core, they all have a defining cause, a motivation, something that separates them from their trauma. And they don't consistently hide it, they don't hide what makes them, them.

So when talking about Ayato, I feel like people look at his trauma and immediately think "he's selfish and stuck up because he was raised to be the best", BUT, who else do we know that was raised to be the best??

That's right, Shu. Shu was quite literally raised to be king of the bat clan. But yet, him and Ayato have two completely different personalities, so I'd like to say there must be that defining factor in there that causes and pushes them to be the way they are. I'd also like to take this chance to say, this is where I think the creators are giving a certain critique on child rearing and whether or not you've grown to be hysterical, maniacal, sadistic, masochistic, unmotivated, competitive, etc. it all stems from a greater problem within society and no matter HOW different you might think yourself to be, the root cause of multiple personality disorders, comes from child abuse. Which we can see just how far it spirals, evil breeds evil after all, and in this case the "evil" here, being attributed to domestic abuse.

(Sort of like a Neon Genesis Evangelion thing going on)

But anyways, I digress.

What I'm trying to get at is, he's quite LITERALLY more than his trauma. We often forget that he's a vampire and has lived through thousands of years, falling in and out of love and lust. Due to the very nature of being a vampire, it's clear to see that Ayato's unaccustomed to growing attached to, in their world, a piece of chocolate or even an old burger. (Yes I am referencing Spongebob, sue me) it'd be seen as stupid to begin to form feelings and bond with your food, unnatural even. I think a large part that makes up Ayato is the fact he's always in doubt of himself, even when he thinks he's known everything, some mystical force out there has to prove him wrong and shake his very system of belief. Rupture everything he's ever known and everything he's ever grown up knowing and practicing. This is why he'll often be seen taking out his frustrations on Yui, because like it or not, she is the cause of his turmoil, paired with his trauma.

I think this is where it's important we understand their dynamics because it goes a loooot deeper than their characters might even seem capable of.

I'll do another post talking about Yui tomorrow and then one final one explaining where they fit into each other and how their character archetypes pair really well, even if it's not the healthiest relationship, it still displays their characters in their truest forms

[shitposting-fox]

Personal head cannon: the reason Okarun gets depressed in his yokai form is due to the lingering effects of Turbo-granny and the location-bound spirit. Spoilers for the manga will be under the cut!

This is due to a few things:

1. The backstory of the tunnel, yokai, and spirit

2. "Dandadan" as a word's potential meaning (major manga spoilers at that point!)

First, the spirits. We've already seen with Momo her ability to view the past of a yokai (Arco Silky) and we know Seiko was aware of the ongoing history behind the tunnel both Turbo-granny and the location-bound spirit where in.

With a combination of the curse, it's not a far stretch that the lingering emotions from the deceased may be having a subtle effect on Okarun.

While it's not been very overt, we've seen how the origin of a yokai is important to how they act. Those who are more vengeful will be more likely to attack whereas those who are from grief may try to protect (albeit a violent way).

While Turbo-granny is in the maneki-neko and her powers are in Okarun, there's a chance that the feelings that helped form those powers may have a subconscious effect on him. Hence, the general depression but extreme protectiveness.

Spoilers from the manga below!!

We saw him literally get on all fours like a guard dog, and push his body to the breaking point repeatedly. Going with the assumption the deceased are subconsciously effecting him, it makes more sense why the protectiveness is amped up too.

Many of the girls were probably desperate for someone to save them, anyone, and that urgency could translate into the need to protect the others (especially Momo) as a result.

The second reason I have this theory is because of the potential meaning of "dandadan"!

This one is a lot more flimsy so bear with me here. While I've already wanted for manga spoilers I'm gonna mention again MAJOR SPOILERS for the manga.

Alright so! Dandadan as a word is similar to だんだん or "dandan" which often translates to "gradually".

I don't know very much about Japanese wordplay besides a few from songs (Love Ka, song based on the Japanese word for frilled shark and the English word love), so I could be completely wrong in this guess. But I feel like the word could be an original creation for implying the gradual change of an individual due to surrounding yokai and spirits

Before I get into the Shinto rambling, I'll mention the big point that got me thinking this was the effects after Okarun lost his powers. He still excelled is a lot of sport areas and, while it could be attributed to him working out consistently, there's also a possibility he has some... Influence, let's say, from a certain yokai.

We haven't seen much of him yet after all of this, so it could be very wrong, but the way it was brought up seemed to imply a greater importance than just normal athleticism.

Now for the Shinto rambling!!

To keep it pretty short: the body plays a major role in Shinto. We've seen it with the golden balls (strong life force amped up by a yokai) plus the give and take of various yokai forms (physicality for Okarun, hair treatment for Aira).

Shinto itself has the body on a pretty high importance. Most Asian religions tend to have more focus on the body, weather it be on asceticism (bodily denial) or purity

Dandadan has shown a lot of Shinto aspects already, from the existence of Yokai and Kami to the various interacts people have with the world.

Since the body is important, it's not too far a stretch to assume the continued themes of religion and the body are going to continue through the rest of the series.

While it may not be as overt as Okarun attempting to get the rest of his genitalia back, it's still likely to appear as a major plot point.

Hence, the potential implications of "dandadan"

I could be remembering wrong, but I believe at one point Count Saint Germain even asked someone if they knew the meaning of the word, which implies it may be crucial to his current purpose in the story

We already know there's a large group of aliens who want to steal the yokai and Kami abilities so they can take over Earth and colonize more planets, and many are looking into ways of stealing them.

With the introduction of Kouki and people's powers being able to be stolen from a direct injury, we can reason that the current goal is for the aliens to find a way to get more people's powers to be then transfered to themselves.

If we go under the assumption dandadan is the gradual bleeding over of powers and/or merging of aura to where it allows a human to gain more supernatural powers they wouldn't have otherwise, it makes sense that Count Saint Germain and/or the invading aliens are attempting to find a way to utilize this ability

Of course this could be completely wrong, but it's been rotating in my brain for a while. Wanted to get it out there somewhere lol

[chaaistained]

OMD URE WATCHING PANTHEON ???? I LOVEEEEEE PANTHEON OMG ITS SO GOOD AND SO UNDERRATED IT DESERVEs WAY MORE ATTENTION THAN IT GETS OMGGGGGGGGGGGGGG

HOW IS IT LIKE FOR U SO FAR ?????

wanted to wait on this ask until i was done and . what The FUCK???

what in the bloody odyssey core shit knuckles was THAT

it was SO INCREDIBLE in so many ways and i feel like there will always be a before-pantheon and an after-pantheon in my life now

it’s one of those pieces of media that reshapes the way you see the world

i felt it with avatar the last airbender when i was merely eight, i felt it again with the good place when i was seventeen, and now i’m gonna turn twenty one and i feel like i’ve relearned the meaning of the world

and that at its core, everything comes back to love, everything comes back to connection, to compassion

and the way you can feel love from all forms whilst simultaneously questioning its authenticity bcs the rate at which we evolve cannot possibly be kept up with

our minds are so much greater than any other cosmic force and yet we keep wanting more and more but at the end of it, we finally wish to regress to revisit to relive

because for every timeline that was witnessed and every apocalypse that was born from the first upload, it keeps happening, because maddie was both right and wrong, pain can and will grow smaller, but you don’t ever really forget it, it just takes a different shape

and when you have eternity? you’ll end up missing it

because the meaning of everything is love and love breeds pain

[sahaquiel43]

Realization: Morgott was genuinely favored by the Erdtree/Greater Will. And Marika is the True Villian.

So, I’ve been thinking, especiallay after the Events of Shadow of the Erdtree. And Goldmask's ideals. I feel like a lot of interpretations of Morgott, are Wrong. from him being hated by everyone Golden-colored, form the rank of file of the Golden Order, to Marika, to the Greater Will itself. And also a Lot of romanticization of Marika, treating her as the good-guy, and having somehow having her being forced to throw Morgott into.

But I've realized that with SoTE, its virtually confirmed that Marika is the Ultimate source of Omen Hatred, it's literally all her Fault, even if it's tragic. In fact, I think she doesn't have a grand plan at all, she's just a broken person.

 Greater will/erdtree/true golden order == GOOD.

Marika’s Golden Order = BAD.

 It’s Marika’s golden order, defiend by her falliable and fickle nature as suggested by Goldmask, that shuns omens and threw him into the Sewers, meanwhile the true order of the Greater Will/Erdtree, described by goldmask, actually favours morgott. And Marika, though tragic, is the true Villian.

Like Goldmask said, the issue is the fickleness of the gods, Marika, the demigods, that is the problem.

One, if he was really hated, how does morgott have one of the most powerful holy-magic abilites in the game? that surpasses almost every other Golden Order. He has to be blessed in some way, by the “true” golden order/greater will.

And Goldmask suggests the fundamentals of the Greater Will/Erdtree do not discriminate against it, rather, it is the fickle, mortal order set up by the Fickle gods that discriminates. Aka, Marika.

And with shadow of the Erdtree, it’s made so Obvious. Omen hatred really is All Marika’s fault, it all originated from her even if it’s Tragic. The omen hatred almost certainly stems 100% from Marika’s (to be fair, quite justified) hatred of the Hornsent. Anything crucible-related was shunned by the Fickle god, Marika. Of course, what the Hornsent did was horrible, to the point that I’m still a bit ambiguous on messmer’s crusade being 100% evil. But Marika was the one who gladly threw her twins into the Sewers, And seemed to tolerate far worse behavior by other non-omen demigods.

Ideas that she somehow was forced to do it are just stupid given, well, SHE’S GOD, and she could have at least just kept them in hiding. No. it was Marika. Marika hated Omens. She wanted her kids to suffer, honestly, the only thing stopping her from killing them was probably her own Fickleness, or the Greater Will stepping in. She probably encouraged Omen Hunters.

As for why morgott was barred from entering the Erdtree, I think it's because, whilst separate, prior to the shattering, the Greater Will gave Marika a LOT of power over the actions of it's power, so it may even Marika's Lingering Influence. Plus Radagon's blanket-security measure to protect the Erdtree.

And Godfrey was definitely overruled given he was the junior in the relationship, he just had to roll over and take it, given his love of his soon, another victim.

And this leads me into the greater theory that Marika doesn’t have some grand plan, she’s basically just a faliable, human, broken, wrecked person. The greater will really chose the wrong person to be their representative. Who has been through too much. And her shattering the Elden Ring wasn't some grand plan, just basically her Snapping and going ballistic after Godwyn died. Shadow of the Erdtree showed that she really was just a traumatized and hurt woman that got involved in something too big. Heck even what Miquella was trying to do makes sense, basically trying to do better than his Mother, and even trying to get rid of his own fickleness.

As for the fact that the Greater Will has already abandoned the Lands Between, I’ve come to realize that it doesn’t really matter. Despite being gone for so long, it’s extensions, which are godly and sentient in and of themselves, are still something powerful and worth fighting for, more than any of the other outer Gods.

as for morgott not improving conditions, aside from the well-known issue of his self-hatred, given the entire world was crashed into a post-apocolypes by marika, with him barely holding Leyndell together against multiple rival factions, he may not have had the space to do much.

[bethanydelleman]

Both Pride & Prejudice and Much Ado About Nothing work so well as enemies to lovers because despite surface animosity, it's clear that both end couples really respect each other and for good reasons. I think you could even argue that with Beatrice, she spars with Benedick because she considers him a worthy opponent.

When Hero and Ursuala plot to make Beatrice fall in love, Hero instructs her to speak of Benedick and "praise him more than ever man did merit" and yet when Beatrice finally speaks, she doesn't disagree with their high praise, she says of Benedick:

For others say thou dost deserve, and I Believe it better than reportingly.

Benedick likewise after his eavesdropping on Don Pedro, Leonato, and Claudio's praise Beatrice says:

They say the lady is fair; 'tis a truth, I can bear them witness; and virtuous; 'tis so, I cannot reprove it; and wise, but for loving me; by my troth, it is no addition to her wit, nor no great argument of her folly, for I will be horribly in love with her.

Similarly in Pride & Prejudice, once the misunderstanding about Wickham is cleared away, Elizabeth is able to acknowledge to herself how much she respects and likes Darcy:

She began now to comprehend that he was exactly the man who, in disposition and talents, would most suit her. His understanding and temper, though unlike her own, would have answered all her wishes. It was an union that must have been to the advantage of both: by her ease and liveliness, his mind might have been softened, his manners improved; and from his judgment, information, and knowledge of the world, she must have received benefit of greater importance.

Darcy also finds that he admires Elizabeth, after initially dismissing her:

But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness.

All of these characters also hear and accept criticism of themselves. Both Benedick and Beatrice hear they are too proud to accept love, which they both overcome. Elizabeth learns that she judged Darcy without sufficient information and Darcy that his behaviour was not that of a gentleman. Their mutual acceptance of this criticism and their growth as people leads to their ultimate happiness.

Unfortunately, those who reproduce this trope often forget to build this foundation of respect and the acknowledgement, either personally or publically, that the characters have been wrong. Instead we get characters who mid argument begin ripping each other's clothes off. No growth, no understanding how they have been wrong, it just becomes "thin line between hatred and love" instead of "we grew towards each other".

[almacambiondaughterofsaleos]

Helluvaverse Has A Sin Of Empathy Problem

When people hear this phrase they might feel reactionary to it. However, I do think it describes as what I can say is toxic empathy. What I am saying that those who might say they are empathetic might enable toxic behavior for those they select to give their compassion to, support a group of people who are rotten because they put up a pity act, or ironically are selectively sympathetic to those they deem unworthy of it. The narrative and the characters are a great example of this.

A great example has to Charlie because in the surface she looks like she's an empathetic all loving hero who just wants to help her world from being slaughtered. However, the big problem is the show doesn't really give us a reason why we should side with the sinners because they show themselves never to want to change and are down there for a reason. Also the narrative never challenges her on the idea that her plan might be a bad idea because some of these people might end up with the same place as their victims in heaven. She will retraumatize people and not care she would be doing that because she can't see things out of her own perspective. It doesn't help that she gets strawmans to easily defeat so her viewpoint isn't challenged. The idea to redeem sinners who don't deserve it will never be faced because then it would have to be nuanced which this show is allergic to. It doesn't help she is willing to overlook her own allies' behavior if it helps her goal which makes her even more two faced.

While Helluva Boss premise is different from Hazbin Hotel, the sin of empathy ends up there because in the form of Sinmas we see how the cultimination of Stolas's creator pet status has Blitzo choosing not to kill a target in a gay relationship (even though it's implied the husband cheated on his ex). This in contrast how he was gungho about killing a mother in straight relationship (even if she was a psycho cannibal). It shows here how selective his empathy is and influenced by his toxic newfound forced feelings for a man who has made him miserable, but the narrative treats as a victim despite all evidence to the contrary.

I also think it commits the sin of empathy with the titular character of Stolas which always pities him despite him being the one who self-inflicts a lot of his issues. Despite the narrative going out to make him seem like he's this woobie, he's actually a big victimizer who needs to be called out on actions but is always handled with kids' gloves. He repeatedly makes himself to be the victim and doesn't understand how he affects others. And in both cases of him being called out, he makes it all about him because he can't fathom the idea he's not the item of empathy and that he should at least understand other people's perspectives on why they dislike him. It also doesn't help he pulls this mentality on his own daughter where he keeps putting his own interest in Blitzo over her to the point he would sacrifice his life for him and leave her to the mercy of her uncle and mother. His empathy for Blitzo is greater than his so-called love he has for his daughter that it's a reason he's cut from her because she knows there isn't enough compassion in his heart for her.

I think this is where the hypocrisy of the sin of empathy shines full with Adam and Stella, who are made to be hate sinks so that they can't challenge our characters morals and stances. Despite being portrayed as hateable, a lot of fans point out they could be made into good characters if they understood their perspectives and not dismiss them as one dimensional villains. Because when you think about it both were screwed over badly, but the writing doesn't take into perspective because it runs on protagonist centered morality. As a result, we get characters who talk big about empathy but can't see to it to actually think they did anything wrong to them, they have a point, or that people they know screwed them big time.

[grahminradarin]

Hi hey hello. I've been watching Miraculous since September, and I just finished.

WHAT THE FUCK IS WRONG WITH THIS FANDOM?

That finale was amazingly well-made. I definitely get why people were disappointed, but there's no way that's everything. The writers who made the rest of the season so good are not capable of writing something this confusing and unsatisfying, unless it's on purpose. This story isn't done.

There has been a lot of focus in the season on class dynamics, but in the last couple of episodes they really start bringing this theme of how people deal with power to the forefront

With Ladybug and Chat deciding not to do anything against Chloe because it's not their responsibility even though they have the power to do it, everything with Lila, the increasingly reckless and harmful ways Gabriel is manipulating people because he thinks he gets to decide what is good for others, Gimmi complaining that no one ever summons them to tell them anything good and only summon Gimmi to use Gimmi's power.

And the thing that brings it together: Marinette's speech right at the end, just before Gabriel makes the wish, when she says the power is only valid when it's used for the greater good of other people.

And then the statue of Gabriel. Right after all of this, a statue commemorating the man who refuses to use his power for the good of others. The dissonance is on purpose. This story is thematically incomplete, and I think the London special will finally wrap it all up.

What does the fandom come away from this talking about? How interesting this all is and wondering how it gets resolved? No. The fandom on the subreddit (and some of them on Tumblr) say "The villain won without consequences! This is bad writing!" and "Why is Marinette not telling Adrien he's a sentimonster?".

I just. How do you watch that and come away with your biggest concern being "Marinette didn't tell Adrien the truth"? How do you not see that it's so much bigger than that? That's not one dangling plot thread, we're looking at an unfinished garment and complaining that the edges are fraying.

And a good portion of the fandom cannot for the life of themselves see the loom and the people working it still going. I don't know how to stretch this metaphor any further, but I cannot believe that anyone would look at something so blatantly incomplete and still treat it like it's the entire picture. It's a microcosm of a bigger issue with the fandom, which is, as far as I can tell, that this fandom wants to watch a different show. Seasons 4 and 5 are so vastly different from seasons 1 and 2, and I think the people that came here to enjoy the first two or three seasons but hated the later ones are angry with the show for not following the traditional kinds of stories in the genre.

This show isn't trying to be an episodic or somewhat serialized story about love squares and middle school nonsense. It's a deep and varied exploration of what being a magical girl does to a 14 year old (in addition to many other things), and it's not pretty. The show is trying to say "this was terrible for everyone, and it shouldn't have happened, but it did, and here's how". And most people didn't want that, which is fair. But it doesn't mean the show is badly written, nor does it mean the writers hate certain characters. It pisses me off that a show this well made, with so much time and effort and care, is constantly dismissed as a badly-written, disorganized piece of crap that people only like ironically. Something this well made deserves a more neutral presentation to let people form their own opinions, and it deserve appreciation for the innumerable things it does well, especially in later seasons and the specials.

In summary, Miraculous isn't bad. A vocal part, maybe even the majority, of the fandom just wanted something else based on the first 3 seasons, and hasn't realized it because they're so devoted to hating on the show. And it deserves a much better reputation than it has.

[night-market-if]

I do kinda see where people are coming from but this isn't the right way to mention it and also its your story so come on people. To me personally the ROs who seem more into the MC compared to other people are Hazel, Bella, and even though people probably won't agree, Malcolm because honestly his relationship with the MC seems to be on much greater footing than his one with Milo. Milo is charming but kind of cat-like with their love, Gabe's romance had the big elephant in the room with him still being attracted to Bella (I can't think of any other reason for some of his actions in book 1 but I could be wrong!!) even though they never actually did anything with each other and were just good friends, and I guess its a bit discouraging with Penn bc it seemed they had eyes for the MC more? I know attraction is different from love, Penn has something deeper going on with NM, and the NM character probably doesn't even care if they're romanced. But I get what people mean when with the silly "spin the bottle" ask none of the ones who played thought NM was the most beautiful to kiss 😂 which again is kinda silly? Since the NM can take on any form? Anyway I think if people are looking for ROs who put the MC on a pedestal they shouldn't try to make you conform yours to that standard. There are plenty of ifs where the mc has completely captivated ROs.

I really do not get this Gabriel being attracted to Bella thing. He has never said it. He isn't. And he is not looking at her constantly. Gabriel, in fact, doesn't take physical appearance into account at all. He is very demi in the end. But, that is an argument I'm never going to win. I can't even remember the last time I wrote those two in the same room together that wasn't on the poly route. They didn't even see each other when MC was gone.

Which, just to be clear anon, the above thing isn't so much a frustration directed at you. I'm just speaking out loud. I think it can be misconstrued however.

And yes, a lot of this is silly. Because NM could change into any persona they wanted to.

In the end, people are getting more up in arms about silly comments made on Tumblr than the content of the actual book. Which is amusing because it tells me who has and has not read it and which age bracket I'm responding to.

[queen-paladin]

disclaimer: yes, I am complaining about cheating in media. Because, yes, writers have the freedom to create what they want but if the morality in creation is free for all forms of media, but no piece of art is exempt from criticism, and that includes criticism on personal moral grounds. I betcha if I said Harry Potter is good, actually, everyone on here would flood my blog telling me I am wrong because of the author's intense prejudice. That being said, I am criticizing cheating in fiction, If you don't like that, don't interact

So often lately I see period dramas where the husband cheats on the wife (ex. Poldark, The Essex Serpent, Queen Charlotte, The Great)...and not only do I despise the cheating trope with every fibre of my being to where I get panic attacks when I consume the media...but specifically with period dramas...

Do these writers not understand the greater implications of a husband cheating on a wife during these periods? More than just the humiliation and heartbreak in the case of a loving, good marriage just like it is today.

In the Western world, probably until certain laws were enacted in the 1900's, if a woman married a man, she was legally his property. She had no legal identity under him. She was financially dependent on him. Any wages she made would automatically go to her husband. Her children were also not legally her children- they belonged to the father. If the husband died, even if the wife was still alive, the children were legally considered orphans.

Women could only rarely gain a divorce from their husbands. In England in the mid-1800's specifically, if a wife divorced a husband she had to prove he had to not only cheat but also be physically abusive, incestuous, or commit bestiality. On the other hand, a husband could divorce a wife just for being unfaithful. Because, kids, there were sexual double standards.

Getting married was often the endgame for a lot of women during that time. Sometimes you couldn't make your own living enough- marriage was a way to secure your entire future financially, with more than enough money to get by. If you were a spinster and middle class, you could get by with a job. But if you are an upper-class lady, the one thing a lady does not do is get a job and work. So upper-class spinsters basically were dependent on their families to get by (ex. Anne Elliott in Persuasion faces this with her own toxic family). As strange as it sounded today, marriage gave them some freedom to go about since a husband could be persuaded sometimes more easily than a father and one had a different home, their servants, etc. A husband was your foundation entirely for being a part of society, and standing up as your own woman.

So if a husband cheated on a wife, that was a threat to take all of that away.

He could give a lot of money that could be used to support his wife and children to the mistress. He could completely abandon said wife for the mistress. And since the wife legally couldn't get a job as he still lived, she would be dependent on any money he would said- and that is IF he sent over any money.

He could take her to court and publicly humiliate her to get a divorce away from her (look up the separation of Charles and Kate Dickens, he would call her mentally ill and say her cooking was bad and that she was having more children than they could keep up with all while having an affair and divorcing her to be with the misteress). And even if the wife was the nicest, more proper, goodest, more rule-abiding never-keeping-a-toe-out-of-line lady in town...as a man, the law was default on his side (look up Caroline Norton's A Letter to the Queen which details exactly that, the poor woman had her earnings as a writer taken by her husband and was denied access to her children from said husband)

So yeah...even if there was "no love" between them (and anytime the wife is portrayed as too boring or too bitchy so He HaS tO cHeAt is brought up is...pretty victim blamey)

So yeah. Period drama writers, if you have the husband have an affair ...just consider the reality of these things and address them, maybe punish the husband for once (*gasp* men facing consequences for their actions?!?!!), and if not, just please find other options and other tropes and devices for once.

[rumitome]

✎ ᝰ ⌗ OO1 LETTER: genshin dr | page OO1

—introducing estelle.

an enigmatic celestial witch that walks the lands of khaenriah. nobody knows where she originated from, but the way ESTELLE creates magical items in order to aid humankind in their advancement gives them enough evidence that she is not as delirious as she seems. even though these items are in the form of accessories and cosmetics...

it may look useless but! but! once you say the magic word, a seemingly normal lipstick may turn into an all powerful scythe capable of cutting a house in half. this prompts mixed reactions from the public. one ultimately fears for their safety, while the others are left astonished. needless to say, children avoided her while adults critisizes her. but hey, at least she's still accompanied by animals, at least they haven't shut her out.

she then cries "eureka!" and marches her way back towards the group of people with a grin on her face and a hint of mischief in her eyes. you may have been wondering on what she is planning, but no one really knows what goes on inside her head at this point. but she has one goal in mind: to gain the acceptance of mortal beings (and maybe finally be able to understand them).

she is now face to face with the townspeople, and with a flick of her staff towards the sky, stars came falling down. the villagers shrieked and ran away, convinced that she had finally gone insane and was now attempting to lead them to their death. however, the stars never collide with the ground; instead, they form into different types of creatures, which estelle calls "celestial spirits." these celestial spirits help the people of khaenriah with multiple tasks and can even act as their companions in their journeys. and with that, estelle finally received the acceptance she yearned for.

years have passed; she has now garnered the trust of mankind and is now living among them. there are tendencies that the villagers still find her crazy, but they love her regardless. living with the people is great—one minute everyone is singing and dancing to their hearts' content, and the next, people are screaming as they run away from the impending calamity. as clueless as she is, she tries to evacuate the townspeople, but they blame her for the disaster being bestowed upon them. but why? she never did anything wrong; as a matter of fact, it contradicts with her goals. she's too preoccupied with pleasing mere mortals! so why should she be the one to be held accountable?

questions continue to race through her mind, unaware that her naivety to give the people what they want results in the disaster in the first place. they took advantage of her gullibility to manufacture war weapons for them—convincing her they would use them for good—but in reality, they have far greater schemes than she could ever imagine. screams, cries and fine crackles occupy her surroundings, and this time she doesn’t know what to do. she looks up at the sky; a deep scarlet envelops khaenriah, concealing the bloodshed within. she then closes her eyes and whispers to herself her final wish, “in the next life, i wanna be ⠀⃞ ⠀⃞ ⠀⃞ ⠀⃞ "

and with that, this is the last we've ever heard of enigmatic celestial witch that yearns for the acceptance of mortals. did her story came to an end? did she live entirely anew? and if that so, where is she now?

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[deception-united]

Hi! Could I ask for advice on how to write an enemies to lovers, non-toxic romance between a guy who's former bully and the girl he used to bully?

The guy (and his former group of "friends") initially bullied her out of envy and jealousy because she has everything he wanted (a happy and healthy relationship with both parents, true loyal friends, genuine optimism, etc.)

After facing punishment and a host of humiliating incidents, he sees the error in his ways and changes for the better.

I feel like a story like this might be very controversial so I wish to avoid any toxicity int their relationship.

Hi, thanks for asking! This is a fantastic concept, and you’re absolutely right to want to avoid toxicity. Enemies-to-lovers, especially when one character has wronged the other in the past, requires careful handling. The main things to keep in mind are accountability, growth, and a slow-burn dynamic where the romance develops only after trust is rebuilt. Here’s are some tips to do it right.

1. The bully must genuinely change—without expecting forgiveness.

His redemption shouldn't all be about “earning” her love; it needs to be about becoming a better person for his own sake. Show his growth through actions, not just words—this can be shown in even greater detail if you plan to have parts from his POV where he reflects, works to fix his flaws, and tries to make amends. Not because he wants a relationship with her, but because it’s the right thing to do.

Have him struggle with guilt. He shouldn’t expect her to forgive him easily, and he would probably feel uncomfortable facing his past actions.

Show him distancing himself from his old “friends,” rejecting their toxic behavior. Maybe they turn on him, making him experience a fraction of what she went through.

2. Make her healing the priority.

She doesn't have to forgive him right away, and likely won't. There will be feelings of anger, hurt, and wariness throughout the process; her healing is independent of him, and she should reclaim her own power.

She may still flinch at his presence or feel conflicted when she sees him change.

She might not want anything to do with him at first, which is valid.

Her friends might be protective and sceptical of his intentions.

3. No instant romance—let them rebuild from scratch.

You can have them start as distant acquaintances, then slowly form an uneasy truce, then perhaps a reluctant partnership in some situation (school project, work, mutual friend in trouble, etc.). Trust is built over time, through consistent behavior.

He can show he's changed through small, consistent actions (e.g., standing up for others, acknowledging his past without defensiveness, respecting boundaries).

She might struggle with seeing him as something other than her past tormentor (internal conflict).

4. Atonement without a grand gesture

One mistake often made in redemption arcs like this is the "big moment" where the former bully "proves" they’ve changed (sacrificing something, protecting her, etc.). While dramatic, it can feel like a shortcut. Try to make his redemption a series of quiet, consistent choices rather than one grand act. Though this is not to say it can't be done correctly if that's what you want to go with!

5. Give her power in the relationship.

If you're trying to avoid toxicity, he should never try to push her into forgiving him or seeing him differently. Instead, have her be the one to set the pace—she gets to decide whether to let him in, and he needs to respect that.

6. Mutual growth

It’s not just about him becoming a better person—it’s also about her learning that she’s allowed to move forward on her own terms. Make her internal conflict, growth, and arc as complex as you would any other character.

7. Humour and shared interests help bridge the gap.

Tension, banter, and reluctant teamwork can be great ways to ease the shift from enemies to something softer. Maybe they end up on the same sports team, in the same club, or thrown into some situation where they’re forced to rely on one another.

___

Things to avoid:

Don't excuse his past actions. His jealousy was an explanation, not a justification. He should never act like she "had it coming" just because she had things he didn’t.

Don't make her feelings secondary to his redemption arc. Her journey is just as important, if not more.

No "you were the only one who ever really understood me" or anything of that nature – this can make it feel like he only changed because of her, which can be unhealthy.

No love fixing everything. Romance shouldn’t erase trauma. Even if she falls for him, she may still struggle with memories of the past, depending on how severe the bullying was.

Hope this helped! I do have a previous post on writing enemies-to-lovers tropes (here), so feel free to check that out for more general tips. Happy writing ❤

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[dustykneed]

can you share some of your mirror verse hcs?

(gladly! ... as you can see this really got away from me in terms of length and i am SO sorry in advance for springing a whole short essay on you skdjsdh)

to open with a bit of a shocker, perhaps, well, the way i interpret the mirrorverse, i just... cannot see mirror mcspirk happening. now don't get me wrong! i think mirror spirk is absolutely possible, and in fact highly probable, and not even as just a sleeping together thing. i think their dynamic could absolutely yield a form of co-dependent emotional attachment on a highly personal level. everyone defines love differently, but i think that in the mirrorverse, if not love, it is certainly as close as you could get. but mirror mcspirk i actually can't see, believe it or not, and this is for a couple of reasons:

the thing about the mirrorverse is that it is all about the death of humanity (not humans, but for what we know as the human capacity for empathy, kindness and hope. i've seen the mirrorverse described as "the universe where no hope can survive". i think that is a very apt summary of what i explore here.) one key assumption of my interpretation of the mirrorverse is that the characters themselves, initially, are no different from how they are in any other universe at the core, and it is the varied external factors of the universe in which they exist that produces the people they become.

to examine the effects of the mirrorverse on the triumvirate, we might begin by looking at the original triumvirate's relationships with the concept of "goodness", with reference to the principles of ethos, logos and pathos.

one of the fundaments of kirk, as a character, is his relationship with goodness as a choice. he represents ethos, morality, in that his goodness is the result of a conscious decision to be good, to do good, as far as possible, to pick the least of any evils if he absolutely must and even if it is difficult, to keep going for the greater good. in the end, it all boils down to his core motivation to be a net force of goodness on the world, or in other words, to train his eyes on the bigger picture when interacting with the situation at hand and to believe that goodness can always prevail in the sense that he will have a net positive impact on the world around him.

spock, on the other hand, is arguably characterized by his relationship with defining goodness. his struggle to reconcile logic and emotion goes hand in hand with his desire to know if, and why, what he is doing is right-- logos. other vulcans rationalize displays of emotion by interpreting them through the lens of logic. spock, i think, is unable to do this because while he has been taught that emotions are illogical and undesirable, and internalizes this to perhaps a far stricter extent than most vulcans due to being held to unfairly high standards to prove himself "vulcan enough", he recognizes on a subconscious level that there is no inherent contradiction between logic and emotions, and that goodness is a mixture of value judgements and rational, ethical methodology.

but mccoy, i think, is a little different, in that goodness in itself is what defines him as a character. instead of ethos (making the right decision) or logos (understanding what makes something right), mccoy's pathos (an unrefined, innate compulsion for goodness; something similar to mencius' theory of good human nature) is not a conscious decision or a principle of action, but a visceral, impulsive, desperate, sometimes irrational and neurotic need to do good no matter the cost, simply because he instinctively knows that it is the kind thing and therefore the right thing to do-- which, sometimes, makes him disregard the bigger picture, and, ironically, do the wrong thing out of irrationality.

(to digress-- i actually think that kirk is actually far more logical than we sometimes give him credit for, especially in the context of spirk. the dynamic of a logical, stoic character and an emotional, affectionate character whose very souls find solace in one another is a hugely compelling and moving one, and i cannot fault people for applying that dynamic to their relationship-- but, well, by virtue of being relatively less direct associations of their character dynamics in the context of slash, i think what happens sometimes with spones, mckirk and mcspirk is that in the process of fumbling around for ways to fit them together believably, people often end up doing a greater degree of exploration of their character dynamics and nuances that is like catnip to me xD)

for kirk and spock, as men whose worldviews are rooted in tangible logic, where the goodness they have seen is the driving force for their pursuit of morality, i do not doubt that without external proof of goodness as a feasible, worthy path, the same traits that grant them their steadfast belief in humanity and hence their great devotion to goodness will be the traits that drive them to turn away from that goodness in the mirror universe. in a world where hope cannot survive, where cruelty and ambition are the only constants, kirk's resourcefulness prompts him to adapt to his environment and seek what he sees as the bigger picture-- ambition and power. spock, a being of logic, observes that cruelty is simply how the world functions, and as a result applies this science to his interactions with it, seeking power not because of a specific ambition, but, again, because it is a logical course of action according to his observations.

i see spirk as highly probable in the mirrorverse precisely because of how alike they are in this regard. they are capable of great compartmentalization of personal sentiments in order to do what they consider "the right thing", or take the "logical course of action", and this is what makes them effective in command roles, where dwelling on the implications of a wrong decision could either kill you from the sheer crushing guilt, or kill more of your men because of your indecision. they are comfortable in their pursuit of power by use of force because they have internalized the rules of the mirrorverse, and are able find solace in each other because they are evenly matched as opponents and a force to be reckoned with when in alliance, which gives them the space to develop that personal attachment and tension in the first place.

but mccoy? mccoy's goodness isn't rooted in logic, and as a result, this facet of his character largely remains untouched even in the face of the greatest cruelties and atrocities his world can offer. his great stubbornness (or illogic, or perhaps even self-delusion) lends him the ability to, against all odds, still believe that people are inherently worthy of kindness and compassion. he believes in good without ever having experienced it, because his belief in good is illogical by nature.

i have no doubt that mccoy would possibly love kirk, and spock, in part simply because he resonates subconsciously with the capacity of kirk and spock to show great kindness. it is possible that he sees the apparitions of what they could have become, had the world not been so unkind to them, and his love for them is tinged with an undercurrent of mixed grief and disgust, and pity. but fundamentally he doesn't trust spirk-- and because of that i think he could never bring himself to truly fall in love even though he has the capacity for it, because that would require betraying his love for humanity.

i think, based on the way mirror kirk and spock likely treat mccoy, as technically their subordinate (and especially in mirror mirror, when mirror spock mind melds with mccoy to figure out why he saved his life without so much as a moment's hesitation, because he doesn't see mirror mccoy as a threat, so why would a mccoy from a softer, kinder universe ever be anything more?) i wouldn't be surprised if they saw mccoy as... lesser. you know? they know that mccoy isn't capable of seeking power the way they do. that makes him weak. i think they trust him far more than anyone else other than each other, perhaps less out of respect for his profession or character, but more because they are able to clear him as a possible threat, as something too pathetic to seize power even when given the chance. they definitely have some interest in his motivations-- like you would a pet, or a plaything, because kindness makes you a target, a weakness, and a liability. a fascinating study, but ultimately, inadvertently disposable.

and it makes sense, in a way, that they are unable to bring themselves to ally themselves with mccoy the way they have each other, because in the mirrorverse, to believe in kindness is a death sentence. they might pity mccoy or regard him with contempt borne out of inexplicable regret, the same way mccoy pities them, for his wasted potential as an asset (and maybe even as a partner). by insulating themselves against their inevitable loss of mccoy, conciously or otherwise, they save themselves another hurt in their world where hope is a lost cause.

(i definitely have more bouncing around in my head about mirror bones especially, but i think 1.5k words is enough for one sitting LMAO so sorry i think i'm halfway in finals mode still. but this is why i could never take literature lol i can never help myself and it takes a lot out of me xDD)

(oh and @callofdooty i think the mirrorverse as a place where no hope can survive quote was from you during our conversations about mirror bones! but either way i think you might enjoy this hahah)

[mariuspompom]

Alicent is unfortunately not the only lifeless portrayal in the show. I have to talk about my pookie. Daemon Targaryen, a fandom fave, grrm's fave (one of them), legendary, quintessential Targaryen prince, "both a great man and a monster", "the most admired, most beloved, most reviled in all Westeros", "made of light and darkness in equal parts", "to some a hero, to others the blackest of villains" (paraphrazing).

Now that is something isn't it? Except that I didn't see that Daemon.

The deal with Daemon is simple. Book!Daemon was, first of all, fiercely attached to his family and that part is extremely important for his characterization. That man was blindly devoted to his house, to his wife and to their kids, adopted or biological. That was his drive, that was his purpose, that was his inner logic. Secondly, that man was nuts. Genuinely terrifying, the "you touch my kin and you will be sorry you were born" kind of terrifying. The "I will not stop until I turn every single person who wronged my family to ashes, man, woman, or child" kind of terrifying.

And they violated his brother's will. They usurped his wife's throne. They murdered his boy. They dared make a fool out of him and tear his family apart, two clowns barely into adulthood, a whiny nun and an old man who faints at the sight of a dragon. These people did this to him. Like, can you even?

Daemon should be fucking seething. He should be coming down on these clowns like a ton of bricks. The mere mention of his name should make them tremble in terror. Blood and Cheese was his moment, and it was the moment of the Dance. Now Matt did a very good job conveying all of this up until Blood and Cheese but attributing Blood and Cheese to an oopsie severely underplayed Daemon's impact. Of course, the reason the writers made BxC a misunderstanding is simply the fact that they couldn't do otherwise, after what they did with Lucerys' murder. Show!Daemon, as he stands, could not unambiguously and straightforwardly order the murder of Helaena's son without turning into a cartoonish Ramsay type of villain, and this, because the writers have not established one of his two defining traits which is, again, his fierce, blind devotion to his wife and kids. Show!Daemyra is weak, Daemon's fatherhood is downplayed. This is a part of the general problem of the characters of the show feeling flat and vague in their motivations. The show may have included some intellectually stimulating changes, in all its anti monarchy blablabla glory, but in their effort to achieve that they stopped giving the characters space to feel, love, rage and form deep, unbreakable bonds with eachother which motivate the entirety of their actions. In the entire show the moments of pure, unfiltered, real emotion are extremely rare, and Daemon is a victim of that.

Since they have not established that emotional core for him, they cannot go full force on his vilest act either. The two go hand in hand. The one motivates the other. Of course you're gonna tell me that in the show, he still orchestrated Blood and Cheese and he is still technically responsible for everything that happened. Matt was still seething with fury throughout the entire episode. Fine. It is still far less impactful than the book version, far less powerful, far less horrifying, because the motivation behind it is flimsy, because Daemon's characterization is hollow. In the book, Daemon was both greater and meaner. He was just more, in every category. In the show, he didn't give me that "oh my fucking god" shocking moment I felt when I read the source material y'all call boring (!) in comparison to the adaptation.

Daemon's moral core is his family. Period. For his family, he becomes the blackest of monsters, without scruples and without mercy. That's what "light and darkness in equal parts" means. Both are necessary. The show ironically managed to dim both his good side and his evil side and turn this proud, fearsome, horrible, legendary Targ into a whiny man whose toy got stolen. Not the vibe. I hope they do better with the battle above god's eye.