#I know some things of it like plot points the villain some of the characters...

[achillean-knight]

So uhhhhhh It's no secret that I really REALLY love the Final Fantasy franchise (it's my favourite video game series of all time), so you KNOW I got the FF6 Reference in Undertale sooooo---- uhhhhhhhhhhhhhhhhhhhhh------- Final Fantasy 6 opera scene Mettaton sprites anyone? UHYGDSHDS I GOT REALLY BORED OK?

For anyone who doesn't know the opera scene, here's both Final Fantasy 6 and Mettaton's HJGHDGFSDH I am not normal about this LMAO

it's so good, I love them both so dearly aaaa

[righteousruin]

I genuinely love and hate that Bane went through this intensely transformative arc in Gotham Knights with meeting his father thanks to Dr. Thompkins and Bruce, and having his life saved by Batman, and it’s meaningful to the point where he’s like ‘I’m not Bane anymore actually’, and then we don’t see him again until two random panels in infinite crisis in which he is just. Out here. Fighting heroes. Zero context between points A and B, go girl give us nothing

[literaryvein-reblogs]

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

[physalian]

Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

--

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

[pygmi-cygni]

Writing tips: how do I add tension?

plenty of favorite tropes have tension. almost all of them. and, non-romantically, tension adds atmosphere. tension is the not knowing, the road block to the happy ending.

NOT TO DO:

don't make your characters stupid. don't dumb down their decisions to get them in 'difficult' situations. the audience will be bored and annoyed. (the audience is me. this is so irritating.)

don't make shit up. keep it consistent, don't throw something out of left field just for the sake of it. If the plot doesn't have enough material for tension, revise.

don't overdo it. tension is great at the penultimate moment, right before success. if you add tension at every point of conflict, readers will get bored and the story will be slow. put it every once in a while, not at every available opportunity.

GOOD CHOICES:

Push and Pull. give and take. let your characters win some and lose some. if they lose all the time, nobody wants to root for them. give them some strengths with their faults.

target strength and weakness. weaknesses are commonly targeted because duh, and it is a good chance for angst, but a really strong choice is targeting strength. the one thing they were good at and they couldn't even do that right? hooo boy.

unpredictable. if the reader can see it coming, it won't be as nail-biting. but as I said above, too unpredictable makes it campy and dumb.

last minute. Does it go well until the last minute? or is it a shit show until the final save? either are good choices, and have some pretty tense moments.

TECHNIQUE

POV. pov is suchhh a helping hand with tension. switch POVs right at the pivotal moment, keep the audience guessing. Unreliable narrators are great too, maybe peek into the villain's head for a bit.

don't be too descriptive. overexplaining ruins the tension. setting description vs character mindset is what i'm talking about. as the narrator/author, you can describe via exposition or external commentary what is actually going on, but the characters don't know. It's like in a horror movie, when the audience knows the killer is around the corner, but the MC is oblivious.

keep the stakes high! conflict builds until the ultimate plot point. so should the tension. maybe there's a secret or a secondary motive that is slowly coming to light.

it doesn't always have to be a huge plot point. The MC is hiding a terrible illness that will strike at the worst moment. One of the characters is secretly a spy and doesn't say anything until the end.

Hit 'em where it hurts! suprises are great. not crazy surprises, keep it consistent, but a holy shit! moment does terrible things to the blood pressure (which in this case is what you want)

hope this helps! xox

[sarah-yyy]

Jie jie, what is The Double about?

hahahahahaha i was waiting for someone to ask!! mr r has bailed on me at work again and bossman has the man flu so it's just. me at the office today. working my ass off for partners who are trying to Kill Me™.

what: period cdrama // completed // 40 eps, roughly 45 mins each where: youku (standard disclaimer that i don’t watch with subs so i don’t speak to the quality of eng subs) // i think viki is picking this up?

this is xue fangfei. daughter of a small town magistrate. married a poor scholar for love against the wishes of her dad. this turns out to be a bad, bad, bad decision because he ends up burying her alive in the mountains sometime post-marriage. :)

this all happens in like ep 1, we're just getting started.

xff ends up being rescued by jiang li, who is the prime minister's kinda-sorta-exiled daughter. jl has been stuck in a kinda-sorta-nunnery in the mountains for the past 10 years because of her evil stepmother.

i'll skip past all the other bits because there is a bit of a backstory about what happened to jl, but long story short!! jl dies (kinda-sorta-because of xff). xff decides to get justice for both herself and jl. her plan is:

1. become jiang li 2. go back to the capital 3. ?????? 4. profit make everyone pay

this is xiao heng a.k.a. su-guogong (the translation is duke su but it sounds weird to me so i'm going to stick with su-guogong). he chances upon xff while he's trying to catch a criminal.

xff, who is in the process of executing her Escape Plan, decides eh, any way to escape will do and lets s-gg arrest her to take her back to the capital for interrogation.

(yes, this is wang xingyue who played zhang zhe in kunning palace. yes he looks a++++++ in this show. i am obsessed.)

side bar, counsels, for a bit of very important information -

su-guogong recognises xue fangfei!! he knows 100% that she is not jiang li and that she is going to cause some chaos. he is Committed™ to watching this drama play out.

ANYWAY. this is the loose premise of the show. it's been fun to watch, and i'm enjoying this a lot!! why should you watch the show?

wang xingyue looks so good in this!! the fans? the capes?? i am obsessed!! everyone in the costumes department deserves a raise.

the story moves quickly and doesn't really drag on. so far, it's been nothing complicated and interesting to watch - i wouldn't say this is a plot-heavy show, just a v good 宅斗 for now, but i'm only like 10 eps in.

the torture my ex-husband who murdered me by showing up in front of him and saying all the right things to remind him of me and the fact that he killed me is so good - normally when this happens, the person looks nothing like their former self, but!! xff's looks haven't changed!! so she's just out here going - hi i am jiang li now and oh btw do you know how cold it is in the mountains where you killed me :)

look i'm......intrigued by this whole shen yurong (ex-husband) and the zhang-gongzhu storyline. i want to see how this whole thing plays out!!

eta: quick post-watch thoughts (may contain spoilers)

a v enjoyable drama!! this is a 爽剧 for reals, like all the plot points get wrapped up and we get a few cute snippets into their happily ever after!! i'm a bit :/ about the way the last few scenes were done in ep 40 (the side character deaths??? extremely unnecessary 🙄🤬 actually the whole war scene was unnecessary but i'm not complaining too much because it gave us That Scene), tbh the whole thing looked more OE leaning BE than HE to me, so the 番外 was quite important to me!! glad we got that!!

shen yurong and zhang-gongzhu both turned out to be so much more interesting than i thought!! a+++ villains, v well-written, and both actors played them beautifully 👏🏼

still an 8.5/10 rec tbh, started strong and held my interest the entire way through

[caliburn-the-sword]

i find it really annoying that people are all like "omg ella totally pranked bridget on purpose as a plot twist since that was the only thing they changed in the past and they successfully stopped her from doing that"

did none of you listen to get your hands dirty?? or even pay attention to anything about ella's character at all?? or pay attention to the original cinderella fairy tale?? bfr

an IMPORTANT detail of the cinderella fairytale is that cinderella was BANNED from going to the ball by her unreasonable, evil stepmother. the vase gave lady tremaine a valid excuse to ground ella in the movie, but if not for the time travel intervention, she would have found some other reason to just ban ella from going to castlecoming to try and get her own daughters to snag a prince. at THIS point fay would swoop in and save the day, but because she's already been established as bad at magic, THIS is why she is limited by midnight - after all, if ella wasn't banned and went dress shopping with bridget, how would the glass slippers ever be so important that she ended up getting her daughter her own glass shoes

two, the villains ONLY crack open the evil cookbook to lord it over red and chloe to rub their loss in their faces, once they think the coast is clear because red and chloe have ALREADY dispatched merlin's security, and they got too self assured. without time travel, they would've been racing against the clock to get out before they were caught by merlin. they wouldn't have had time to crack open the book. so once they were FINALLY safe i believe they would've been more cautious. perhaps ulyana would have consulted the souls of the black lagoon, or maybe one of her friends snatched it out of her hands and froze themself opening it in their excitement. it doesn't matter, all we need to know is that ulyana figures out that she has to trick someone good into opening it to the page she needs. since we know that ulyana intended to pretend to be bridget's friend, i think it's possible that she herself tricks ella into opening the book by telling ella she wants to make amends with bridget, which makes the betrayal so much more intense for bridget and explains away why she'd be so angry at her in the modern day

[mortal-song]

the problem with tua's ending is that it was IMPOSSIBLE to do without retconning and defacing the themes and characterizations that have been central to the story since the very first episode. if you had to end it that way, if it really was "the plan all along," then fine. there ARE good ways to do that -- so the execution should have been much different here if that was the case. take a look at "the good place," for example. everyone ceased to exist at the end of that story as well, but it was beautifully done because it ADDED to the show's core themes rather than take away from them. tua's ending was hollow and unavailing. at some point i have to commend the precision with which someone can desecrate an entire series and certain characters (looking at five, diego and lila especially) like this.

it made no sense. diego and lila formed a beautiful (albeit chaotic) relationship built upon mutual trust and authentic love that neither of them had ever experienced before. it was something they were teaching each other and learning together. that was a new beginning to them, and it was painted as such by the narrative. at no point were there hints that things would go sideways, no build up. every time they stumbled in the past it was still right back into each other's arms. at no point did their chaos look like an ending until it was shoved in our faces for... shock value? to shake things up? i fail to understand where it came from. they were relentlessly devoted to each other and the only two people who could stand each other for long. and so what became of them was very jarring. very messy.

five's ENTIRE character has been focused on and motivated by one thing: saving the people he loves. to the point that he was willing to let his own humanity become a forgone ideal, a renounced concept, as many times as it took. to the point that he essentially INVENTED TIME TRAVEL and INVENTED THE COMMISSION TO REGULATE IT. five's stoic exterior only barely concealed the claw-grip he had on every single family member, so why forget it now? why choose to go back on that? and in what world would five hargreeves willingly wait MONTHS to return to his family? because he was SUDDENLY in love with lila, no less? forgetting the very apparent fact that his age and body are not in alignment, five had never shown any interest in romance. especially not towards lila. but they do have very similar backgrounds, and so this was a chance to enrich the mutual understanding five and lila have with each other, expand the familial connections they have, especially seeing as how both of them -- in their own ways -- spent most of their life without that sort of connection.

ben's entire arc felt so, so out of place. completely and very ironically isolated from the entire rest of the series. nothing about it was fulfilling, nothing about it offered any sense of closure or even development. jennifer made no sense even as a plot device, much less as her own character. these two brought out nothing in each other.

klaus had the foundations of a good arc, but too much was introduced in too small an amount of time and none of it really went anywhere. i can say roughly the same for allison and viktor. THAT being said, of most of the scenes i did find myself genuinely enjoying this season, THOSE three were usually at the center! in fact, i really did love the scenes with klaus, allison, and claire. so that's cool. i guess. luther? he was just kind of... there?

and ray just fucked off with no explanation? okay. and reginald? until this point he had all the qualities of a potentially VERY GOOD and nuanced villain. his arc fell flat. and let's not forget all the other loose ends, but, you know, we've been here long enough. so. onto the next point.

none of these characters got to heal. none of them ever got to revel in anything meaningful, or, rather, the things that WERE meaningful across the whole series were rendered worthless because... none of it exists anymore! none of it ever existed! this is like an "it was all a dream" ending but much worse. and these characters are so, so incredible. i can only name a few other stories that have had characters i've connected to this deeply. and despite everything i could never really stop loving them. that makes it hurt more though tbh

anyways. i know i'm about to sound incredibly dramatic but the ending made me sob my lungs out. this show was really important to me. it led me to incredible people, other incredible stories, helped me live, etc. but i honestly found myself wishing i'd just never watched this series at all. the ending was eviscerating and Just Fucking Pointless. i don't think i'm ever going to be able to rewatch it. it's still hard for me to conceptualize that it was even real, that this is all we get. there's a lot more i could say about everything, but again, i've said a lot already and i'm not trying to write a fucking novel. i'll say more of what i want to in sporadic bursts i guess.

[jess-the-vampire]

Professor Caduceia and Snakely

Checked out the storyboard for the deleted s1 episode "Homesick"

You can read it here : https://t.co/WpZJFWbR48

I just loved these cut villains, one whose design def seemed like it was given to raine when they got cut. (I wonder if the color palette was similar, but we don't have a reference to that so idk)

Thoughts on the cut episode below:

An episode where king and owlbert of all characters bond is kinda neat, especially since it provides owlbert himself a bit more character here.

The opening is def far different from any of the final ones we ever see in the series, in fact it feels like it should be taking place during the episode but it can't be given we see hooty from being sick to not being sick in pretty chronological order?

A focus on the healing coven was nice to see, especially since we never got that in the show itself, and get some idea of their powerset and what they do magic wise.

So Manny was an ambulance driver, and Camila was a nurse in this. People originally assumed camila was a nurse when the show started, and it makes me wonder if that was changed between seasons at some point cause clearly the crew decided to change her profession and it's unclear why.

you can use your palisman as a communicator? and an umbrella? I do think it's so weird that even at the very end of the show, they establish brand new rules for palisman. Like them being able to shapeshift into objects is straight up not explained and just sorta....happens in the show, like i feel like hunter would have no issue hiding flap if this is a thing. (It also kinda makes stringbean's ability slightly less unique) Like this is displayed in these boards, but they kept it even in the show itself, and i think palisman might need a proper rulebook.

On that same note, owlbert uses magic in this board, like we kinda knew palisman could do some magic without a witch, but this is the only time we've seen one use it to fight another witch that wasn't the batqueen. Like owlbert tries to full on blast people in this. I don't know if removing this episode makes this ability less canon in the world itself since they still can do magic in the show, it's just worth noting that palisman, according to this board, CAN fight back, even if they're not incredibly strong it seems. Certainly the kinda thing that makes you think on other episodes tbh.

This episode also brings up the idea that eda actually CAN and DOES bring human food to the BI, which never happens in the show, in fact luz implies she gets to eat very little options there, so this idea seems no longer canon?

The demon hunters at one point don't even seem to recognize owlbert as a palisman, which does not entirely make sense given they seem to be mostly common to the townsfolk, so I'm kinda glad for that plot hole being gone.

Caduceia makes it out like the emperor's coven forced her to teach? and she thought handing over a house demon to belos would get her out of teaching as if it were some kinda punishment or job she was made to do? I have questions

side note, house demons are called rare in this, like they're not common, not sure if this still applies in the final show, but yeah.

there's some very sweet moments in this with luz and eda especially, but also some funny moments, and some jokes that land a little less....i don't think we needed Caduceia to be kissing her snake like that from that angle, even if it was meant to be a little uncomfortable.

one reason i think this episode did get cut? we got a glyph in this

a healing glyph, which has some ties to water based on it's symbol

i'm guessing since they kept the main glyphs element based, a healing glyph would of stuck out and been a bit weird. Like it just heals people, it doesn't produce water despite looking close to the alchemy symbol for water, and well....we already got ice so this would be redundent.

so yeah, this episode introduced a new glyph that saved them in the end so it would of come back in future episodes, but to keep it simple that would mean cutting the entire episode as a whole just to keep the four.

Since they enjoyed Caduceia's design so much, they must've repurposed it for raine somewhere down the line.

very fun insight into a scrapped episode.

[immaturityofthomasastruc]

EVEN MORE SPOILERS FOR SEASON 6

I figured since I already read it, I'd give my thoughts on the recent interview Astruc and Thibaudeau took part in.

Due to incompatibility with the new animation engine, SAMG will not be working on the next seasons of ‘Miraculous’. The series is now being developed entirely in France, with the integration of Dwarf Animation.

Okay, props for no more outsourcing, even if I'm not sure what this means for the other ZAG shows.

Season 6 is considered to be “a new beginning”, aside from being a new story arc. It is sometimes referred to by the writers as Season 1.

I'm sure that isn't confusing to the executives at all. Also, maybe don't imply you're starting from scratch when you're already reusing the plot of the main villain using the Butterfly Miraculous.

The writing team already has concrete ideas for how Seasons 7, 8 and 9 will begin and end. They also have ambitions to make it to a Season 12, only if the support of viewers and executives allows them to do so. With this, they emphasize the fact that they would not continue with the show if it were no longer needed or interesting.

So basically, they're planning to keep this up for as long as they can until someone pulls the plug.

The opening of the sixth season is still undecided. They are still discussing whether they will change the musical arrangement or not. Thomas also considers the possibility of making a brand-new theme song. A song has been confirmed for S6. They have the music, the arrangement and a female singer. The character remains unknown.

Imagine how funny it would be if they brought back the woman who sang for Marinette in the movie instead of having Cristina Vee sing again.

Despite leaving Paris at the end of ‘Revolution’ (5x23), Chloé Bourgeois will return in Season 6.

Putting aside all the things I've said about her "damnation arc", what is even the point of bringing her back at this point? She has no powers, no influence, no allies, and isn't a threat of any kind. This makes her not being the next Hawkmoth make even less sense, becuse she has more of a reason to hate Ladybug than Lila does.

Also, with the news that Chloe is coming back, this means that she essentially escaped punishment or at least found a way to rebound like Lila did. So that's a grand total of ZERO villains who actually got punished for their actions after five seasons. I'm starting to think Ladybug and Cat Noir really suck at their jobs.

Sebastien Thibadeau: “[Cerise] (IOTA: I'm still calling her Lila for simplicity's sake) is a villain without costume. She is a villain all the time. There is a reason why, but this reason, neither I nor Astruc will reveal to you yet.” Interviewer: “You mean you already intend to tell it?” Thomas Astruc: “Yes. And you know what, we have already told it, but you haven’t noticed.”

Translation: Ladies and gentlemen, LET'S GET READY FOR RETCOOOOOONNNNS!

Seriously, we are approaching the sixth season of this show. It has been eight years since Lila first appeared all the way back in "Volpina", and we still know nothing about her other than the fact that she has some three moms for some reason. You can't pull the whole "This is something you need to rewatch to understand!" excuse because the last two seasons hinged on breaking the rules about Sentimonsters.

Speaking of, I love how this comment about Lila accidentally implies that Gabriel never did anything evil when he wasn't Hawkmoth/Shadowmoth/Monarch. All that emotional abuse and isolation Adrien suffered was all out of love!

Thomas Astruc on Chloe redemption arc: “We put the characters in situations, and then we say to ourselves: “what would be the logic?” How would the character logically react in “such and such” a situation? And we tried, we tried everything. But every time, we say to ourselves: “if we write this, it’ll be wrong”. There’ll be no reason, it’ll come out of nowhere, the fact that she’ll face something nice and say: “Oh, I’ve been horrible, Marinette what have I done! From now on, I’ll be...” No, nonsense. I understand people’s desire for Chloe to be nice. I’d like that too. But I’d like it if in real life, people with a lot of power suddenly started doing nice things. But Chloé has no interest in changing. She has no reason to change, unfortunately.”

Ah, yes because Gabriel (Global terrorist and abusive parent), Felix (Betrayed Ladybug and temporarily wiped out all of humanity on a whim), Nathalie (Willing accomplice to Gabriel) Andre (corrupt politician and Chloe's primary enabler), Sabrina (Willing accomplice to Chloe) all had compelling reasons to change their ways.

Also, "I've been horrible, what have I done?"

MY BROTHER IN CHRIST, THAT'S HOW VIRTUALLY EVERY REDEMPTION ON THIS SHOW IS EXECUTED.

The fact that he's seriously acting like he actually wanted to write a redemption arc is insulting. Not only does it ignore all the things he's said to fans who were upset at the turn of events, but it makes no sense for him to take this stance because he's a writer. If Chloe turning a new leaf is too strange of an idea, then write an actual character arc allowing her to progress to a state where she recognizes what she's done is wrong. You control the character for God's sake! It's not like you're training a dog to stop humping the couch. You can change things to make a redemption arc possible.

In other words, Astruc is either lying to save his ass, or THIS IS WHAT THOMAS ASTRUC ACTUALLY BELIEVES about writing characters.

Sebastien Thibadeau talks about Andre's character development: In contrast to Chloe, “Andre Bourgeois evolved as a character because we had already imagined a back story. He had the potential to change, and that’s where the beautiful scene comes from — I think it’s magnificent — between Gabriel and himself on the roof of the Grand Palace, where he says: “But Gabriel, what’s become of us? We’ve forgotten the kids we used to be”. But we [writers] know what kids they used to be, and we’d like to tell the story one day, to show what young kids they were, when they were struggling through Paris and weren’t yet what you’ve come to know in the series. He’s sad about what’s happening to his daughter [Chloe], and he’s trying to change it, but he can’t. He is proof that a character can change.”

This. This right here is what cinched it for me. I've tried for years not to say it because it's a word that has been flung around a lot over these last few years, but I feel like this little snippet is enough of a reason for me to say it.

These writers are sexist.

They may not believe it, but whether they intended for it or not, they wrote a story arc where a grown man was shown to have more sympathetic qualities than his daughter. How the hell can you defend it in a way that doesn't highlight the misogyny that this show runs on?

The fact that they gush over how much "potential" Andre had right after saying how that same kind of potential wasn't enough of a reason to attempt a redemption arc with Chloe really shows how confusing their priorities are. I'm sorry to keep saying this, but for a show that takes a heavy anti-capitalist philosophy, it seems like the members of the 1% are the characters who get the most depth and sympathy... unless you're under 18 and lack a Y chromosome, that is.

A meeting will be set up in the coming weeks to decide on whether or not to make a live-action for ‘Miraculous’, Thomas Astruc reveals.

As a former Arrowverse fan, I'm willing to see this out. Not only did the Netflix One Piece series prove you can make an animated property work in live-action, Ladybug & Cat Noir: The Movie managed to do really well even without the usual writers behind it.

Thomas when asked about Gabriel’s wish in ‘Re-Creation’ (5x26) and whether he brought Emilie back to life: “All the answers are in the episode.”

For the love of--STOP SAYING THAT!

You keep claiming that we just need to rewatch the episode to understand things, but between the continuity errors and abandoned subplots, it's hard to tell what's important and what isn't. Either say "No comment" or give us an honest answer.

If people are still confused about how the season ended after almost a year, and you keep giving answers like this:

Maybe you need to change the way you tell the story.

Astruc when asked about ‘The Supreme’: “Oh, if only you knew... Nothing we do is meaningless.”

Sebastien Thibadeau on Season 7: “Once you’ve seen the start of season 7, I can swear you’ll watch season 6 a second time. That’s all I can say.”

Because it'll make Season 6 look like a masterpiece by comparison?

Thomas Astruc on the worldbuilding: There are Kwamis and Renlings, what makes you think there aren’t others [creatures]?

I swear, by the time we get to Season 10, we're going to get stuff like aliens, demons and talking mushrooms, or at least something ludicrous like that.

Zoe had a love at first sight when she met Marinette in ‘Sole Crusher’ (4x07), they confirm.

Of course! That's why it wasn't framed any differently from something like the umbrella scene and Zoe showed absolutely no signs of attraction to Marinette! It's genius!

Executives had Thomas write several alternative concepts for ‘Miraculous’, very different from what we know today or even the early PV. Among them, “a concept where Ladybug is the head of a group of superheroines, like Sailor Moon. There was no love story.”

Can you imagine a world without the Love Square?

The script writers’ favorite episode is ‘Simpleman’ (4x19) as it represents a personal, work and family attachment. Marinette’s grandfather, Roland Dupain, is inspired by Thomas Astruc’s grandfather.

Okay, either Astruc had a complicated relationship with his grandpa or he's been dead for years. While I understand that older generations have outdated views (for example, my great-grandmother yelled at me for saying I wanted to learn Japanese because "They tried to kill us!"), the fact that a caricture of a grumpy old man was based on his grandpa is a little concerning.

Also, between this and Sabine being based off an old flame of his, this only makes the theory that Chloe is based off a real person Astruc knew more plausible.

Astruc: “This is why our work is so difficult. We have to manage to bring in this generation of younger ones, and at the same time, we have to satisfy the generation that was here before and that grows with the series.”

First, if you're trying to please older fans, maybe don't get into fights with them on Twitter.

Second, you made a thread after "Simpleman" aired where you insulted fans for not getting the "meta" element to the episode and compared them to the character you just said was based on your grandfather.

You've also been burning away a lot of the older fans' goodwill over the years. Trust me, I have a few examples.

Despite sharing a similar appearance, the symbol on Nino’s T-shirt is not related to Hack-San.

Okay, is this a fan theory I missed back when Season 4 was airing? Why would anyone draw that conclusion?

Thomas Astruc talks about Season 6: “I’ll say it sincerely, I was very doubtful at the end of Season 5. I said to myself: “if we were to continue, how would we exceed?” Well, we did. It’s been a great season. The new writers have brought us a lot of great stuff. All the episodes we’ve written in Season 6 are fabulous. Each episode is on point, there is no unnecessary lines. All the scenes are really interesting, really well-crafted.”

Translation: Tons of filler, bad comedy, reused Akumas, and more Love Square drama that we're trying to claim hasn't been done before.

Thomas when asked if Marinette will get akumatized: “We never give any information about what may or may not happen.”

JUST. SAY. NO. COMMENT.

There are many important details throughout the series that no one has noticed. Thomas says that when we see the next seasons, we’ll think, “Oh, the writers had it all planned.”

You know, like how Season 3 established that Sentimonsters can be sent out of control by Cataclysm a few episodes before Adrien, a Sentimonster, gets hit by a Cataclysm and is affected in a different way. It was all planned from the beginning.

The Ladybug PV was an animation test and was not intended to be public. Jeremy Zag decided to leak it himself.

Honestly? Dick move on Zag's part. You have to wonder how pissed off Astruc was.

According to Thomas Astruc, what the ‘Miraculous’ series is today represents only 5% of what he wrote in the original bible he presented to Jeremy Zag. “The universe has evolved a lot since. I don’t know if the ideas I put there will be reused someday. It was very extensive.”

Thomas Astruc and Sebastien Thibadeau discuss the parallels between Marinette and Gabriel: Astruc: “Gabriel’s personal back story is the cause of his misery, not his will. And above all, it creates a beautiful mirror with Marinette, which is what’s interesting. They both have a lot of love for Adrien, they’re both designers, they both have a Miraculous, but it’s other choices.” Thibadeau: “That’s what makes it a great hero-villain contrast. Even if they don’t know it from the start, they have a real point in common. As we see at the end of Season 5, they both love Adrien. Except there’s one who does it by doing the right thing, and then there’s another who does it by doing the wrong thing, hurting people, to get there.”

And the one who did the wrong thing by hurting people ended up winning. What does that say about the contrast?

------------------------------------------------------------------

And that's it for the interview. I have to say Season 6 does not look pretty so far.

[shelfperson]

OKAY OKAYYYYY OKAY like i understand why people are bullying louis right now. it’s not a great look to dick down the guy who just now threatened to murder you and your daughter. but taken from louis’ perspective? without our foreknowledge of the plot? for all he knows he’s just gained an important and powerful ally.

like???? before armand spares louis, he does the whole “why are the powerful so weak” speech with the obvious implication that he doesn’t want to enact the Great Laws on louis specifically. and then he… doesn’t. And then, and this is crucial, opens up to louis about ALSO having his heart broken by lestat. which puts him in a place of automatic solidarity with him. and then he kisses him! as assad said the post-show breakdown, armand had to choose between the coven and louis in that moment and he chose louis.

like as far as louis is concerned, he and claudia are safe. at the very least, sage from armand specifically.

and like. i am absolutely 100% certain armand will have something to do with claudia’s death but i kind of doubt that armand is just like. masterminding from the shadows all day everyday and is retroactively altering the ENTIRE NARRATIVE. that’s just so boring. he becomes a non-character at that point.

what i think is much more likely is what a lot of people have been theorizing about: santiago stages a coup because armand is a fucking hypocrite and makes armand pick between claudia or louis. and armand is going to pick louis. and that’s what armand is hiding from louis. not that he personally killed her in cold blood but that he killed her through inaction/indirect action.

i’m also super exited to see the resentment between claudia and armand ramp up from here. like HELLO CHOKESLAM WHAT THE FUCK???? get AWAY from her.

anyway i bet armand and claudia have some really adversarial interactions after this point and that’s part of what armand doesn’t want louis to see in claudia’s diaries. like the two of them are perfectly positioned to activate the other’s trauma’s/hangups because they’re BOTH afraid of being abandoned they BOTH know what it’s like to always be someone’s second choice and they both really want louis to pick the other.

on top of that, i’m sure armand’s scary ass is having his disney villain “if it weren’t for those meddling middle aged kids” moment about claudia at some point too.

like i doubt he “could not prevent it” but i also think a little more nuance, a little more conflict, is much better than Bad Man does Bad Scary Thing because he’s craaaaaaaazyyyy.

this has become a rambling mess but the POINT IS. there’s a little more going on then louis just letting jeff the killer into his house out of sheer dickmatization. there’s layers.

[sunderwight]

crack scum villain theory: there is no "original" Shang Qinghua

how this works is, neither the world of SV nor the world of PIDW actually existed in any tangible sense before Airplane died. Airplane dying was actually the catalyst for the system, and whatever unfathomable cosmic entities are behind it, to recreate the world from the novel. that's why Airplane transmigrates into an infant, and also why the world mostly follows canon up until Airplane interacts too much with actual plot-relevant characters, and accidentally butterfly effects Shen Jiu into a fatal qi deviation. At which point the system determines that a dead Shen Qingqiu makes fulfilling the basic story requirements impossible or at least dangerously low in terms of odds, and brings in the second play (User 002, Shen Yuan).

SY is able to earn more points from the system than Airplane, but that's mostly thanks to his proximity to the protagonist not actual preferential treatment, and he seems to have more concrete restrictions on his behavior and limits on his mobility (OOC lock, entering into an already-established character, and of course being forced to ensure that Luo Binghe goes into the Endless Abyss) (this does make it ironic that he ultimately changes the most things). whereas Airplane seems to have more freedom to do as he pleases. the system doesn't even seem to dock him points for accidentally contributing to the death of a vitally plot-relevant character.

so the SV world was originally supposed to more or less just be the same as the PIDW world. it didn't change to any significant degree until Shen Jiu died.

I suspect, then, that the PIDW world which followed canon didn't exist as any kind of separate reality until Shen Jiu died of a fatal qi deviation and had to be replaced. at which point the system -- perhaps hedging its bets -- created two splintered timelines. one being the original sandbox for Airplane to play in and continue to alter, the other being a manufactured reflection of the story's original outcome, possibly to serve as some kind of emergency back-up character bank or reference outline.

which means that the PIDW version of this reality isn't a full and cohesive world. though of course the people there don't know that. it's mostly just a tool for the system, which is why we first encounter Bingge being utilized as an enforcer. Bingge and everyone else who exists in the PIDW reality, they all remember their past as the story and are at the end point of what Airplane had written, but none of it actually happened. they instead sprang into existence at their narrative end point.

since the Shang Qinghua of Airplane's novel died well before the end of the story, characters in the PIDW have various recollections of a "Shang Qinghua" and his death, but they are vague and ultimately do not reflect the tangible events of a world the way that the SV timeline does. they are artificial memories based on a story. PIDW Shen Jiu likewise never really existed, although SV Shen Jiu did. similarly, all the history of the SV world that supposedly happened before Shang Qinghua was born never actually happened either. that's all constructed as well, which means that in a weird kind of a way, no one in the world can actually be older than Shang Qinghua either. they can only have manufactured memories that give them that impression. which means Airplane is the oldest being in that entire universe. he'd even be older than his own parents, because they were created to be his parents the moment he was born.

so there's no other Shang Qinghua. everything prior to Airplane's transmigration in the SV world and prior to the last PIDW chapter in the PIDW world is like when a video game designer seeds a dungeon with a skeleton and a bunch of notes about how some lone adventurer got lost and died there. at no point in the game was there ever actually a live adventurer in place of that skeleton.

that's "original" Shang Qinghua. he doesn't exist, because in one reality he's only ever been a version of Airplane, and in another he's a skeleton in a video game dungeon.

[herstoryheaven]

Descendants James Hook x Reader: The Kiss That Set Us Free

Request: Hiiii! Can I maybe request a James Hook X female reader where some princess gives James a love potion? Reader has to save the day with true loves kiss ofc (definitely not stealing the plot of descendants 2)

Reader: Female

Word count: 3168

Average reading time: 11 min 30 sec

Category: Hurt/Comfort

Warnings: None

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Disclaimer: All events portrayed in my stories are fictitious. Any resemblance to actual events is purely coincidental. Any actions or behaviours portrayed by the characters may differ from reality and cannot be connected to any actual person. This work is purely fictional and intended for entertainment purposes only.

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Merlin Academy was a place where the children of royals and villains alike attended, a melting point of clashing destinies and unbreakable friendships. Among its students was Y/N, a poor girl who had earned her place through a scholarship. Though she had no fancy title, she carried herself with a quiet strength that intrigued many, including James Hook.

James Hook was known for his mysterious charm and flirtatious nature. He had taken a particular interest in Y/N, often observing her and finding excuses to be near her. Despite her initial confusion as to why someone like James would pay her any attention, Y/N couldn't deny the flutter in her heart whenever he was around.

Just like today, Y/N took place under a large oak tree, absorbed in her studies. She was so focused on her book that she didn't notice James approaching until his shadow fell over her pages.

"Fancy finding you here, lass." James said, a playful hint in his voice.

Y/N looked up, her heart skipping a beat at the sight of his familiar smirk. "James! You startled me."

"Apologies." he said, though the twinkle in his eye suggested he wasn't entirely sincere. "What are you studying so intensely?"

"Just some history." Y/N replied, trying to keep her voice steady. "We have a test coming up."

James leaned against the tree, his gaze never leaving her face. "Always so dedicated. It's one of the things I admire about you."

Y/N felt her cheeks heat up. "I just... want to do well. Prove that I belong here."

James tilted his head, his expression softening. "You more than belong here, lass. You're one of the brightest students at Merlin Academy. Don't let anyone make you think otherwise."

She looked down, fiddling with the edge of her book. "It's just... sometimes it feels like I don't fit in. Everyone here has a legacy, a name. I'm just... Y/N."

James crouched down beside her, his fingers gently lifting her chin so she would meet his gaze. "You're not 'just' anything, darling. You're remarkable. Titles and legacies are overrated, anyway."

Y/N's breath hitched at the intensity in his eyes. "You really think so?"

"I know so." James said firmly. "And if anyone gives you trouble, they'll have to answer to me."

She couldn't help but smile at his protectiveness. "You don't have to do that, James. I can take care of myself."

He chuckled, a deep, rich sound that sent shivers down her spine. "I have no doubt about that. But I like taking care of you."

Y/N's blush deepened, and she looked away, trying to compose herself. "Why are you so nice to me?"

James's expression grew serious. "Because you deserve it. And because, Y/n, you intrigue me. You're not afraid of me, or my reputation. You see me beyond the hook."

"I don't understand why you'd pay attention to someone like me." Y/N admitted, her voice barely above a whisper.

James moved closer, his fingers brushing against hers. "Maybe it's because I see something in you that you don't see in yourself. Maybe it's because you're different from anyone else here. Or maybe, lass, it's because I can't help but be drawn to you."

Her heart raced as she met his gaze again, the sincerity in his eyes making her feel both vulnerable and cherished. "James, I..."

Before she could finish, he leaned in, his lips brushing against her ear. "Just know, darling, that you have my attention. Always."

Y/N felt a shiver run down her spine at his words, her heart fluttering wildly. She had never felt this way before, and it both excited and terrified her. But as she looked into James's eyes, she realized that maybe, just maybe, she didn't need to understand why he paid attention to her. Maybe it was enough to know that he did.

-----

Over the next few weeks, James continued to find reasons to be near Y/N, their interactions filled with teasing banter and stolen glances. Despite her initial confusion and insecurities, Y/N found herself growing more comfortable around him, her feelings for him deepening with each passing day.

As Y/N was in the library, her nose buried in yet another book, this time about magical creatures. James sauntered in, his eyes immediately finding her at a corner table. With a mischievous grin, he approached her quietly, leaning over her shoulder.

"Finding anything interesting, lass?" he whispered, his breath warm against her ear.

Y/N jumped, her heart racing. "James! You promised to stop scaring me."

He chuckled, pulling out a chair and sitting beside her. "Stop scaring you, but darling that’s my specialty. And I simply can't resist seeing that cute little jump of yours."

She rolled her eyes, trying to hide her blush. "What do you want, James?"

"Just checking on my favorite student." he said, resting his chin on his hand as he gazed at her. "What are you reading?"

"It's about magical creatures." she replied, closing the book slightly to show him the cover. "I have an assignment on them."

He leaned in closer, his face inches from hers. "Fascinating. Which one's your favorite so far?"

She glanced at him, her pulse quickening at their proximity. "I like the phoenix. It's a symbol of rebirth and resilience."

"Like you." he said softly, his eyes locking onto hers.

Y/N felt her cheeks heat up. "Me?"

James nodded. "You're strong, Y/n. Stronger than you realize. And you're constantly rising above everything thrown your way."

She looked down, biting her lip to hide her smile. "Thank you, James. That means a lot coming from you."

He reached out, gently lifting her chin so she would meet his gaze again. "I mean every word."

-----

Another day, Y/N was walking to class when she felt a hand slip into hers. She turned to see James, his usual smirk playing on his lips.

"Thought I'd escort you to class." he said casually.

"You don't have to do that." she replied, though she didn't pull her hand away.

"I want to." he insisted, giving her hand a light squeeze. "Besides, I enjoy your company."

As they walked, James began to whistle a familiar tune. Y/N laughed softly. "Is that 'A Pirate's Life for Me'?"

He grinned. "A classic, don't you think?"

She shook her head, amused. "Only you, James."

"Well, I am a pirate's son, after all," he said with a wink. "It runs in the blood."

They reached her classroom, and he reluctantly let go of her hand. "I'll see you later, darling."

"See you, James." she replied, her heart fluttering as she watched him walk away.

-----

One evening, Y/N was sitting by the enchanted lake, enjoying the peace and quiet when she heard footsteps behind her. She turned to see James approaching, carrying a small picnic basket.

"Mind some company?" he asked, settling down beside her without waiting for an answer.

"What's in the basket?" she inquired, curious.

"Thought we'd have a little picnic." he said, opening it to reveal an assortment of fruits, cheese, and pastries. "I figured you'd like it."

Her heart warmed at the thoughtfulness. "This is really sweet, James."

He shrugged, though she could see the pleased look in his eyes. "I aim to please."

They sat together, sharing the food and talking about their classes and dreams. As the sun began to set, casting a golden glow over the lake, James turned to her, a serious look in his eyes.

"You know, lass, I enjoy these moments with you more than anything else at this academy."

Y/N felt her breath hitch. "Really?"

"Really." he said, his voice soft. "There's something about you, Y/N. You make everything... better."

She blushed, looking down at their entwined fingers. "You do the same for me, James."

He leaned in closer, his lips brushing her ear. "Good to know, darling. Because I'm not planning on letting you go anytime soon."

Her heart soared at his words, the fluttering in her chest intensifying. Though she still didn't understand why James Hook would be interested in a poor scholarship student like her, she couldn't deny the happiness it brought her. For the first time in a long time, Y/N felt like she belonged. And as long as James was by her side, she knew she could face anything that came her way.

-----

Sadly, that wonderful feeling for Y/N didn’t last very long as her suspicions were confirmed that James was, in fact, not interested in her at all. As today, the atmosphere at Merlin Academy was disrupted when princess Aurora approached Bridget for one of her famous pink flamingo cupcakes. Bridget, ever the sweetheart, happily obliged, unaware of Aurora's true intentions. Aurora had a love potion, and she discreetly applied it to the cupcake before offering it to James.

James was lounging near the fountain, chatting with some of his fellow students when Aurora walked over, a charming smile on her lips. "James, my love." she cooed, holding out the cupcake. "I thought you might like a treat."

James raised an eyebrow, intrigued but cautious. "What's the occasion, Aurora?"

"No occasion." Aurora replied, batting her eyelashes. "Just thought you'd enjoy it."

He hesitated for a moment before taking the cupcake, his curiosity getting the better of him. "Well, I never say no to sweets." he said with a grin, taking a bite. As he chewed, a strange, dazed look came over his face.

Y/N, who had been sitting nearby, noticed the interaction and felt a feeling of unease wash over her. She watched as James's usual playful banter with her ceased abruptly. He turned to Aurora, his eyes filled with an intense, almost unnatural adoration.

"Aurora." he murmured, his voice filled with awe. "You look... stunning today."

Aurora giggled, pleased with the immediate effect of the potion. "Thank you, James. You're so sweet."

Y/N's heart sank as she witnessed James showering Aurora with compliments and attention. It was as if she no longer existed in his world. The playful glances, the teasing comments, the stolen moments, they all vanished in an instant.

James walked over to where Y/N sat, but instead of his usual greeting, he barely acknowledged her. "Hey, Y/N." he said curtly, his eyes never leaving Aurora.

"Hi, James." Y/N replied softly, her voice tinged with sadness. "Are you okay?"

"Never better." he said, smiling dreamily at Aurora. "I just realized how incredible Aurora is."

Y/N's heart broke at his words. She tried to keep her composure, but the pain was evident in her eyes. "I see."

Aurora, noticing Y/N's discomfort, smirked triumphantly. "James, why don't we go for a walk? I'd love to spend more time with you."

"Of course." he said eagerly, offering his arm. "Anything for you, princess."

As they walked away together, Y/N felt a tear slip down her cheek. Bridget and Ella, who had been watching from a distance, quickly came over to comfort her.

"Y/N, are you alright?" Ella asked, concern etched on her face.

"No, I'm not." Y/N admitted, wiping away her tears. "I thought... I thought James liked me. But I guess I was wrong."

Bridget hugged her tightly. "I'm so sorry, Y/N. We didn't know Aurora would do something like this."

"It's not your fault." Y/N said, her voice trembling. "I just have to accept that someone like James could never be interested in someone like me."

Ella shook her head fiercely. "That's not true, Y/N. You're amazing, and if James can't see that, then he's the one who's missing out."

"Yeah." Bridget agreed. "We'll figure this out. Maybe there's something more to this."

Y/N nodded, though her heart still ached. She couldn't deny the happiness James had brought her, but now, seeing him with Aurora, she felt like an outsider once more. Just like back then Y/n questioned her place at Merlin Academy. 

-----

Noticing Y/N's sudden withdrawal, Bridget and Ella grew increasingly concerned. They watched as she became quieter than ever, only showing up when absolutely necessary for classes. Her usual warmth and laughter were replaced with a haunting silence.

As Bridget and Ella found her sitting alone by the edge of the forest, staring blankly at the ground.

"Y/N, we need to talk." Bridget said softly, sitting down beside her.

Ella nodded, sitting on her other side. "You've been so distant lately. We're worried about you."

Y/N sighed, trying to hold back tears. "It's just... James. Seeing him with Aurora, it hurts more than I thought it would."

Bridget placed a comforting hand on her shoulder. "We know, Y/N. But there's something strange about all this. James wasn't acting like himself."

Ella leaned in, her eyes filled with determination. "We think Aurora did something to him. We have to find out what."

Meanwhile, Uliana, Morgie, Hades, and Maleficent were observing James's strange behavior. They gathered in a secluded corner of the academy grounds to discuss their suspicions.

"Something's definitely off with James." Uliana said, her eyes narrowing. "He's not acting like himself at all."

Hades crossed his arms, his expression serious. "Aurora must have used a spell on him. It's the only explanation."

Morgie nodded in agreement. "We need to do something about this. James may be a flirt, but he wouldn't abandon us like this."

Maleficent, her eyes glinting with a hint of malice, spoke up. "There's one way to break a love spell. True love's kiss."

Uliana smirked, her gaze turning towards Y/N. "And I think we know just the person who can help."

The group of villains approached Y/N, Bridget, and Ella, their presence causing a tense silence to fall over the group.

"Y/N." Uliana began, her tone surprisingly gentle. "We believe James has been spelled by Aurora. We need your help to break it."

Y/N looked up, confusion and hope mingling in her eyes. "Me? How can I help?"

"True love's kiss." Morgie explained, a sly smile on his lips. "It’s the only way to break the spell."

Y/N's heart raced. "But... why me? Why would James love me?"

Maleficent stepped forward, her gaze piercing. "You’re underestimating yourself. James has always had a soft spot for you. If anyone can break this spell, it's you."

Y/N swallowed hard, her mind racing with doubt and fear. "But what if it doesn't work? What if he doesn't really love me?"

Hades sighed, his fiery hair flickering with frustration. "We won't know until you try. Do you want to save him or not?"

Bridget and Ella squeezed Y/N’s hands reassuringly. "You can do this, Y/N. We believe in you."

Taking a deep breath, Y/N nodded. "Alright. I’ll try it."

-----

As the night fell, Y/N approached James, with slight fear, her heart pounding in her chest. The intensity of his gaze, now directed only at Aurora, was disheartening. She braced herself, reaching up to cup his face, and pressed her lips to his in a gentle kiss.

To her shock, the spell broke instantly. James blinked, his eyes clearing as the enchantment faded. Bridget and Ella squealed in delight, while Uliana, Maleficent, Morgie, and Hades smirked knowingly.

James, now fully back to his senses, wasted no time. He pulled Y/N firmly against him, his strong arms wrapping around her waist. He kissed her again, deeper and more passionately, as if to make up for lost time. When he pulled back, his eyes held nothing but sincerity.

"Be mine, darling." he whispered, his voice raw with emotion.

Y/N's heart raced, her cheeks flushing at his intense gaze. "James... I..."

Before she could finish, Aurora's furious voice cut through the moment. "How could you choose her, a peasant, over me, a princess?" she spat, her eyes blazing with anger.

James didn't falter. Instead, he pulled Y/N even closer, his lips brushing against her ear as he whispered, "Stay still, love."

He then stood behind her, his arms securely around her waist, and pressed a kiss to her neck. Y/N shivered at the sensation, her body leaning back against him. James kept his eyes locked on Aurora, a challenging smirk playing on his lips.

"Tell me Aurora, why would I want a princess who spells me." he said, his voice low and dangerous, "when I have my own princess who would let the world burn for me?"

Aurora's face twisted with rage. "You fool! You don't know what you're throwing away!"

Before James could respond, Maleficent stepped forward, her aura radiating power and intimidation. "Watch your tongue, Aurora. Or I’ll put you to sleep for eternity." she threatened, her voice cold.

James's smirk widened as he felt Y/N relax slightly in his arms. "Aurora." he continued, his tone mocking, "A princess who uses spells to get what she wants is no match for a girl with a heart as pure and strong as Y/n's."

Aurora's eyes darted around, looking for support, but found none. The others stood firm, their expressions resolute. Even Hades, with his usual nonchalance, had a hint of protective fire in his eyes as he watched the scene unfold.

James turned his attention back to Y/N, his expression softening. "Lass, you're my princess, with or without a crown."

Y/N's heart swelled at his words, tears of happiness welling up in her eyes. She looked up at him, her voice barely above a whisper. "James, I... I don't have a title or riches. I'm just me."

James cupped her face in his hands, his eyes filled with adoration. "You don't need titles or riches to be special, Y/N. You're everything I want. And if it's a name you're worried about, how about becoming Y/N Hook? Sounds pretty good, doesn’t it? My pirate princess."

Y/N's breath caught in her throat, her eyes widening. "You mean that?"

"Every word." James replied, his voice unwavering. "I love you, Y/N. I want you by my side, always."

As they stood together, surrounded by their friends, Y/N realized that love and loyalty mattered far more than any crown ever could. She leaned into James, feeling safe and cherished in his arms.

Aurora, seeing that she had lost, turned on her heel and stormed away, her face a mask of fury. Maleficent watched her go, a satisfied smirk on her lips. "Well, I suppose the sleeping curse can wait. Pity I didn’t get to use it now." she muttered.

Bridget and Ella rushed forward, enveloping Y/N and James in a big hug. "We knew it!" Bridget exclaimed. "We knew you two were meant to be together!"

Uliana, Morgie, Maleficent and Hades exchanged smirks, their eyes gleaming with approval. "About time." Uliana said, her voice filled with satisfaction.

James pressed another kiss to Y/N's neck, his breath warm against her skin. "I love you, darling." he whispered, his voice filled with unwavering devotion.

Y/N turned in his arms, her eyes meeting his. "I love you too, James."

As they kissed again, a cheer went up from their friends, and for the first time, Y/N felt like she truly belonged. With James by her side she knew that this will be her once upon a time.

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[bibibbon]

MHA and the bystander effect (long post)

MHA's society suffers heavily from the bystander effect.

I wish that this plot point was further explored and this could of been where we actually take all mights character somewhere and not waste him on the whole iron might bs.

It can be argued that we first see this as early as the first chapter where we have people simply standing there watching a hero take down a villain. In all retrospect when I see this I genuinely think of some kind of performance, the hero is a glorified soldier that has to elegantly perform their duty while ensuring the safety of lives and entertaining them.

We then have the attack with bakugo and the sludge villain. People again are standing there watching another performance go down except here the heroes don't know what to do and it can be argued that they aren't trying hard enough at all. The heroes look at the situation, say they don't have any compatible quirk that helps the situation and simply stand in the sidelines waiting for someone to come and help that's after the manh failed attempts. Now this absolutely wouldn't work considering the victim in this circumstance was getting choked to death and him struggling even more literally caused a fire and property damage. I think it's interesting how no one thought of simply aiming at the sludge villains eyes (his obvious weak spot) and it was izuku in his panic that actually helped save Katsuki and gave all might the strength and confidence to step up and do something. What's even more interesting is that at that moment all might like the other bystanders was also contributing to the bystander effect simply standing there distanced from the fight and involved in it at the same time.

The third time we see this is during the UA entrance exams. Everyone is focused on getting points and destroying robots not really paying attention to their surroundings. After releasing the zero pointer everyone priorities themselves and starts to run with no one sparing ochako (who is injured) an eye and offering to help her. Rather the unconscious thoughts are that someone else will help her and it's full of people trying to prioritise themselves as this is also an exam. Izuku also priorities himself and tries to get away until he sees ochako and this is the second time where he recklessly runs into danger.

I think what's really interesting is that nedzu made this the point of the test which is something that iida says to izuku when they meet again. Iida points out that saving peoples lives and helping them is indeed the point of the test and heroism yet the test is very much structured in a way where you need to destroy to save and you need to prioritise yourself which can be the test just being a microcosm for the real hero society.

We mainly and clearly see the bystander effect in action when it comes to shigaraki tomuras backstory. It can be argued that this is one of the major reasons what drives shigaraki to villainy. Throughout tenko's backstory people see him suffer yet they don't help him physically at all or are quite late to do so. This starts from his father's punishments to him aimlessly roaming the streets scared and alone just for all for one to come along and offer a hand to him. A villain ends up helping a child instead of the people who are supposed to do so (Iam ignoring the contents of chapter 420 that revealed that AFO was behind this all along)

Tenko's backstory also emphasises just how much society is dependent on heroes that they think they aren't responsible for anything and any remains of social responsibility are rather diminished as people are busy and turn a blind eye to an obviously scared kid who is suffering.

Heck we even have momo a class 1A member acknowledge that the bystander effect is a very big thing within hero society yet no one does much to reduce this. It seems that hero society actually makes it somewhat of a taboo to even intervene in situations and help people when you aren't a hero which is why labels such as vigilantes exists. This could be linked to what we find out what happens to lady nagant and how she was in charge of killing vigilantes or anyone who opposed the government.

You can say that the government uses heroes (like hawks and lady nagant) as a way to control citizens but this turns out to be a double edged sword for them as time goes on and all mights notorious reign of 'peace' falls the people start to wake up you can say.

Hero society especially with the rise of all might and the all might era has created a society that is rampant in the bystander effect and a society that relies, worships and glorifies heroes to a toxic extreme. Obviously this has negatively effected everyone in different ways. It's not only civilians that suffer but also the heroes who are put into extreme situations and have to live up to incredibly toxic and high standards while also appealing to the public. I think a great example of this is all might who is a character who suffered from the system yet upheld and was somewhat responsible for creating it.

After the war arc we see the hero society system crumble away and we see the complacent bystander effect fade away and get people become distrustful or heroes and anyone around them. During this arc we also see the once glorified and worshipped all might statue become vandalised and people abandoning any hope of the hero system or hero society in general. Chaos and panic are rampant and people have lost hope as the system dissolves.

In conclusion, if horikoshi actually handled this theme of bystander effect in hero society properly then we could of gotten a compelling story where villains or victims that suffer from it are saved. Hori could of also used this to show how flawed hero society is and how corrupt the hero public safety commission is as well.

Add on

Horikoshi during the vigilante arc also has civilians realise their compliance in all of this and how the hero system set them up in a way which they can relax and watch without having to do anything as society crumbles. It's such a shame that horikoshi takes this and basically diminishes any proper hope by making the ending of the second war arc a disaster.

[rejectedfables]

While the source material clearly intends Xue Yang to be read as an orphan (perhaps orphaned so young he has no memory of his parents), I think it’s underexplored in fandom that he never ACTUALLY SAYS that his parents DIED, but rather that he was a child without parents. 

"He had neither dad nor mom nor money" (via the official english translation)

I think there's something in here worth exploring about the possibility that Xue Yang was abandoned by his parents. 

Perhaps he remembers one or both of them and/or the event, perhaps he does not but just has a sense of it having happened, perhaps he has no memories of it at all but it still psychologically impacted his development. 

Just about every character in the story can be better understood by looking at how they were raised, and Xue Yang is CERTAINLY not an exception. 

There are myriad ways to interpret his childhood (though none of them stable, safe, or cared for), but I have been thinking a LOT lately about how being abandoned by his parents could have shaped him into who he later became.

His behavior in the Villainous Friends extra (wherein he, seemingly arbitrarily, breaks things and antagonizes people and then specifically challenges Jin Guangyao about paying for damages) COULD be interpreted as acting out in a way that's common for children and teens with a history of abandonment who are testing the waters of just how much their new guardian/s will tolerate. This sort of behavior can be a self fulfilling prophesy as well as an attempt to prove to themselves that their expectations of rejection or punishment are correct.

If Xue Yang has only ever known the world to be a painful place where people reject and abandon him, then that's how he expects the world to continue behaving. If suddenly someone defies this expectation, it is simultaneously a fascinating and wondrous thing, and also a threat to his worldview. After all, if THIS person can be kind and care for him, then why didn't anyone else?

If JGY, who at this point is essentially just his handler, can be unconditionally patient with him... then why couldn't others have been patient with him over much less? And why couldn't his own parents, who had considerably higher responsibility to him, be as patient as JGY?

It's much easier to push and push and push until you break the patience and prove your cynicism correct, than it is to grapple with those painful questions. And after all, Jin Guangyao had an exterior force (Jin Guangshan) requiring him to show patience. And once that force was removed, so was Xue Yang. This, perhaps, felt as much like validation as it did betrayal.

There might be a parallel to be made here, too, about how JGY was and felt betrayed/abandoned by his father. This in common might be something that they bonded over.

And of course, as always, there's Yi City.

Xue Yang expects Xiao Xingchen to abandon him, and his elaborate “revenge” was at least in part in preparation for that anticipated betrayal. He "knows" he will be betrayed and, perhaps unlike what happened with Jin Guangyao, he intends to be ready for it this time. Ready to punish Xiao Xingchen the MOMENT it happens, or ready to convince him not to betray him after all (what is "We're not so different, I'm not uniquely evil, you're ending our life together because you think you're better than me but look! Look! You and I are the same now" if not a deeply misguided and utterly desperate plea?).

At some point he starts hoping it just won't happen, and stops needing the “revenge” plot. When it starts unraveling before him, he tries for understanding first. What is "Hear my story, THEN decide--" if not begging to be understood?

Of course it doesn't work.

Xiao Xingchen doesn't even kill Xue Yang, either; he goes Away. Goes where Xue Yang can't. If Xue Yang is read as having this particular trigger, Xiao Xingchen's suicide may feel like abandonment all over again.

Perhaps Xiao Xingchen NOT killing Xue Yang becomes a parallel to Xue Yang's parents abandoning him to suffer alone instead of keeping him or killing him. Or else maybe Xue Yang's mother DID try to kill him (drown him or left him out in the cold) and he just managed to survive, in which case Xiao Xingchen NOT trying to kill Xue Yang puts him a cut above even Xue Yang's own mother/parents.

Final thought:

While I find Xue Yang's lack of familial connection to the rest of the cast compelling, I also find "what if" scenarios fascinating to explore, and "Xue Yang was abandoned by parents who might still be around during the story" does create some fascinating opportunities for fic.

Such as:

What if Xue Yang was yet another illegitimate son of Jin Guangshan? What if he knew but Jin Guangyao didn't? What if Jin Guangyao knew but Xue Yang didn't? What if Jin Guangshan himself knew? That would really put the insistent protections into a very weird light (is there a heart in there? Or did he think he could string Xue Yang along like he did Jin Guangyao? Or was Xue Yang blackmailing him?)

OR

What if Xue Yang was the illegitimate son of Chang Cian? It certainly puts a spin on that entire scenario. Little Xue Yang has another reason to want to please this man, and a further reason to feel betrayed by the abuse. Chang Cian not even recognizing him. Xue Yang taking revenge on the entire family because they ALL wronged him in a way he can't articulate. Because they got to live the life he could have if he'd been wanted.

Certainly none of this is canon, but it's not TERRIBLY far beyond the bounds of canon either, and makes for some juicy food for fic.

[lakesbian]

i have had like 10 friends rec worm to me but nobody’s given me a good like, gist of its vibe and what its abt because ‘its best blind’, could u please give a like brief summary and vibe check of it 😭 it’s so long i dont wanna try and invest that much time without knowing much abt it

so, worm is a 1.7 million word long webserial written in 2010. 1.7 million words seems like a lot, but it was also written over a relatively short period of time, which means the writing style is very easy to parse--the ideas aren't without complexity, but the language itself isn't intimidatingly dense. you can get through it at a very decent pace. i agree with your friends that there are vast portions of worm that hit best when you're unspoiled, but the thing is that worm is long enough that giving you the basic plot pitch is in no way spoilers for any of the things that i wouldn't want to see spoiled for someone. i'm actually kind of baffled they're not telling you Any Thing, because it is in my estimation one of the best books i've ever read, but it also Needs a briefing before you get into it for like five different reasons. which i will now provide. i swear to god this is brief by my standards it's just that i am very thorough

worm is a story about superheroes and supervillains, set in a world where superpowers are traumagenic--rather than appearing randomly or innately, some people gain powers after a traumatizing event happens to them. the protagonist is taylor hebert, a 15yo girl who has the power to control insects and desperately wants to be a superhero. and then accidentally finds herself scouted by a team of teenage villains instead. who's to say how she's going to react to all that!

one of the most compelling things about worm is that the superpowers in it serve as visceral, hyper-literal metaphors for the trauma and traumatized coping mechanisms of the characters with those powers. each power is incredibly specific and thematically relevant to the person who has it, and it's incredibly interesting and evocative. it feels so natural and well-done that it comes off like how superpowers are just meant to be written.

the fact that superpowers stem from trauma also means that worm is fundamentally a narrative about trauma. specifically, about traumatized teenagers and the relationships they form as they cling together while struggling through growing up traumatized & mutually coping with an increasingly intriguing, intense, and far-reaching escalating plot. worm's depictions of trauma + mental illness--including unpalatable trauma responses, including traumatized characters who are allowed to be complicated and nuanced and messy while still receiving narrative respect--are deeply real-feeling and impactful, and they're placed in the context of a well-spun + engaging story.

i really do have to stress how excellent the character writing is. worm is fully deserving of being as long as it is. over the course of 1.7 million words of character development, the average reader's reaction to the main characters goes from "sorta interesting" to "okay, i want to see where this goes" to "augh...really likable" to "i am now on hands and knees crying and these characters are going to stick around in my brain forever." wildbow has incredible talent for efficiently conveying complicated, real-feeling, and viscerally evocative characterization. many of the interlude chapters (chapters written from the perspective of different characters other than taylor) are so interesting, fleshed-out, and emotionally affecting that they make you wish you could read an entire novel about just the side character being featured. with that level of characterization for just the side cast, it's not surprising that taylor (& co) are genuinely just downright iconic. and i do not say that lightly--taylor is truly one of the best-written protagonists i've seen in anything. ever.

the other main pitch-point for worm is that it's a fascinating deconstruction/reconstruction/examination of the conceits of the superhero genre. it answers the question of--what would the world have to be like, for people with superpowers to act the way they do in classic cape media? and it does this well enough that it's interesting even if you have only a passing familiarity with cape media. i am not a big superhero media fan, but worm addresses virtually every aspect of cape media that was under the sun around 2010 in a way that's so interesting i still find it incredibly engaging. the approach it takes makes the narrative very accessible even to people who aren't usually cape media fans.

and speaking of the narrative: the end of the story is coherent and satisfying and deeply thematically resonant*. the way worm follows through on all of its main mysteries & plot threads is excellent. you don't have to worry about getting thru 1.7 million words and being dissatisfied by the author shitting the bed at the end, or anything like that. he does an amazing job of weaving together plot events in a way that makes each successive one feel rationally, thematically, and emotionally connected to what came before. there's really only one part where i feel the story stumbles a bit, but i think it was the best option he had for the narrative, and it's by no means a dealbreaker. it's in fact really impressive how cohesive and satisfying worm is for such a long webserial released over such a brief period of time.

*this is subjective ive seen some people who didnt love it but ive never seen anyone who downright Hated it who didnt also demonstrate egregious misunderstanding of literally everything worm is about. so thats a good sign

as for the downsides of worm/things that might put you off:

there is a very long list of trigger warnings for it. if you have any trigger warnings you want you should ask your friends to let you know about the relevant parts, because the fact that it's About Trauma (& about typical cape media circumstances presented very seriously) means that traumatic and violent things & their realistic aftermath are constantly happening and/or being discussed. i would not classify worm as needlessly dark or spiteful to the audience by any means, but it is intense and covers a lot of heavy topics. i do assume if your friends are all recommending it to you, they think none of the material would be too much for you, though!

worm was written in 2010 by a white cishet guy from canada. it's typical levels of 2010-era bigoted, it has a deeply lesbophobic stereotype character, it has some atrociously racist stereotype characters, the author really hates addicts, It's Got Blind Spots. i think worm is generally fully worth reading despite these, but very fair warning that it can get bad. i think what exacerbates this is that worm is generally extremely nuanced & sympathetic regarding ideas such as "crime is a result of systematic circumstance vs people just being inherently evil" and "mentally ill people who are traumatized in unpalatable ways are still deserving of fundamental respect as human beings" and so on and so forth, so it's extra noticeable and insufferable when you get to a topic the author has unexamined biases on and all that nuance drops out. the worst part is that a lot of this is most concentrated in the early arcs, so you have to get through them without being super attached to any of the characters yet. it is worth it though.

worm like. Does have a central straight relationship in it. and it's a very well written straight relationship for the most part and i like it quite a lot. but worm also passes the bechdel test with such flying colors that it enters 'unintentionally homoerotic' territory. which means a lot of people were shipping the main character ms taylor hebert with her female friends while the story was being released. which caused the author to get so mad he 1. posted a word of god to a forum loudly insisting that all of the girls are straight and 2. inserted a few deeply awkward and obvious and out of character scenes where he finds an excuse for the girls to more or less turn to the camera and go "i'm not gay, btw. this is platonic." This is fucking insufferable, and will piss you off immensely, but then you will get to any of the number of deeply emotionally affecting scenes between them, and at that point you will be too busy sniffling piteously and perhaps crytyping an analysis post on tumblr to be mad about all that other shit. also they're only a couple tiny portions out of an entire overall fantastic novel

overall: if those points don't sound like dealbreakers (i hope they aren't they're really massively outstripped by the amount of devastatingly good moments in worm, worm still has a thriving fandom over a decade later for a reason), you should absolutely give it a shot and see what you think. my final note is that you have to read up until the end of arc 8 to really see where what makes worm Worm kicks in, so aim for at least there to see how you feel about it if you're just thinking about dipping your toes in vs fully committing. i hope that was helpful and not too long :)

oh and don't go in the comments section on wordpress if you don't want spoilers. or anywhere else in the fandom at all. you will be spoiled. quite possibly for things you could not even have imagined were topics to be spoiled on.