#almost any character that is even sort of ‘evil’ if included

[busiest-bee]

I’m a chronic “what if they were nice and also my friends”-er 😔💔

[zaebeecee]

No, you don't want the Hays Code to come back.

Listen, I get it. I'm aroace. I don't like sitting through gratuitous sex scenes that do nothing for the plot and exist solely for the purpose of "being a sex scene in the movie". It's lazy writing and a cheap marketing ploy, to be sure, but don't try to fool yourself into believing that a return of the Hays Code will somehow only change this particular aspect of film, and that everything else will be allowed to flourish as a result.

Let's pretend that the Hays Code did come back. If that ever happened, what kinds of things could you expect from all film, going forward? Well, we're going to go on a journey. I'm going to go through the Hays Code (which you can find here in its entirety if you'd like to read it) point by point, and the following list is just what immediately comes to mind while doing that. I promise you, the full list is much, much longer.

Things you could look forward to if the Code came back:

You don't get any more sympathetic villains. The very first rule of the Hays Code is "the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin".

There will be no more characters who are happily allowed to live any lifestyle alternative to the Average American Nuclear Family With Dad And Mom And 2.5 Kids And A Dog. This includes everything from queer representation to just having a woman who doesn't want to get married (or, Heaven forfend, wants a divorce). Any characters who are living lives like this will either 1) have this rectified by the end of the story, usually by falling in love with the promise of marriage and a family, or 2) die.

There won't be any more criticism of the police or the government unless it comes from villains, at which point the criticism will be so cartoonishly over the top and miss the point so hard it isn't even criticism anymore. If a protagonist holds any of these views, they will very quickly be "set straight".

You won't have any more horror movies with any part of the horror coming from the portrayal of a character's death, because the Code prohibits murder shown in any context that people might theoretically be able to imitate or with any brutality whatsoever. The shower scene in Psycho pushed this rule almost to its breaking point.

All crime procedurals will be barebones by necessity, because even crime on property or non-violent crime (theft/robbery, arson, smuggling, etc) will not be allowed to be presented with any level of detail. Any sort of heist story will not exist for the same reason.

There will be no more action movies with guns in them, as the only presentation of firearms allowed will be "restricted to the essentials".

Not only can smuggling not be portrayed, basically everything about illegal drugs will be banned from film.

Characters will only drink alcohol in any form at all if it's critical to the plot.

No romantic affairs unless they're a vital plot point.

The ban on sex will not be limited to on-scene sex. There will be no kissing or even embracing that could be construed as "lustful", as well as no characters allowed to even hold themselves in a vaguely provocative manner. Also, the very act of seduction is banned, even if it's in a positive light.

Oh, hey, look, a good one: any rape must be essential to the plot, non-explicit in any capacity, and never used for comedy. You get one, Hays.

No more queer people. At all.

The Code explicitly bans the portrayal of "White slavery" and "miscegenation". Know what those are? "A white woman traveling in any capacity with a black man" and "any marriage between a white person and a black person".

No stories of anyone suffering from an STD.

No childbirth. You can't even say the word 'pregnant', and showing a woman who is pregnant is pushing your luck.

Good one number two: no depicting children in an even vaguely suggestive manner. So that's two, Hays.

The points on 'vulgarity' and 'obscenity' are so incredibly vague that basically anything objectionable is subject to being banned depending on the personal opinion of the person making the judgment. Also, no more jokes for parents in kid's movies, and that's not limited to sexual innuendo, because the obscenity clause forbids even the possible suggestion of something that might be considered objectionable even if only a small portion of the audience will understand it.

No profanity, for any reason.

There won't be any costumes that are considered immodest according to the standards of 1930. Also, you can't portray anyone undressing or being exposed to the point of indecency according to the standards of 1930.

No one will be allowed to dance in any way that isn't your basic Jr. High slow "save room for Jesus" type dancing. This includes, but isn't limited to, dances with any sort of sexually provocative moves. For context, it was this restriction that had people calling for Elvis Presley to be arrested and burning his records, because of that basic little back and forth hip movement he did. It wasn't even thrusting, it was mostly side to side.

There will be zero critique of religion. Doesn't matter why. On this note, the only acceptable portrayal of religious figures will be as wise, caring espousers of good advice and wisdom. No religious figures as villains or presented in a comedic light. Also, all religious ceremonies are to be respectful if portrayed and cannot be used for negative plot reasons.

If they show a married couple's bedroom, the couple must have separate beds, because you can't even suggest that a married couple are sleeping together.

Anything relating to the flag of the USA or patriotism will be required to be shown in a positive light. The same can be said of representations of other countries and cultures... according to the standards of 1930.

Good point three: no animal or child cruelty.

"Oh but isn't the next point good" no because "the sale of women" just means prostitution, so yeah, no more sex workers. And not just them actively working, you can't portray them at all.

Medical dramas and war dramas won't be able to portray surgery.

Now, yes, it's true that the Code goes on to clarify points, with things like "it's okay to sympathize with the person committing the crime, just not the crime itself", but these clarifications are always just there to make the Code seem less like a totalitarian dictatorship. Also, do you really think people are going to push their luck and possibly have their work subjected to severe third-party editing or, worse, flat out banned? Of course not. Filmmakers are going to err on the side of caution and not push anything.

You might be looking at this list and thinking, "but I know a lot of characters from the Code era that did all this stuff!" Right. I'm sure you did. And they were villains, by and large. And if they weren't, they were either fixed because it was a dramatic plot point, or they were punished with death.

I'm sure there are things on this list that you think are fine. But I'm just as positive that there's at least one thing that bans something you personally like. And I suggest you just stop for a second and think about all the media you like, and how many of them—under strict adherence to this code—would be banned.

Being in my 30s, some of these might be old or outdated enough to be obscure, but this would ban (or change past the point of recognition) things like Breaking Bad, NBC's Hannibal, Monty Python anything, V for Vendetta, James Bond, everything MCU and DCU, Ocean's 11, The Big Lebowski, The Boondock Saints, The Walking Dead, most every reality show in existence, Kiss Kiss Bang Bang, The Substance, Straight Outta Compton, Heretic, Nosferatu, The Hunger Games, Percy Jackson, Salem's Lot, Boardwalk Empire, Wicked, The Passenger, Glass Onion and Knives Out, half of everything the Muppets have ever done, Smile, Skinamarink, The Babadook, Sister Act, The Blues Brothers, Gone Girl, X, Jurassic Park, Death Becomes Her, The Birdcage, Cabaret, Repo! The Genetic Opera, Mrs. Doubtfire, Smokey and the Bandit, Jaws, The Nun, The Amityville Horror, Reefer Madness, The Rocky Horror Picture Show, Little Shop of Horrors, Moulin Rouge!, Les Miserables, Chicago, Hamilton, Adventure Time, The Menu, To Wong Foo, Paris is Burning, Priscilla Queen of the Desert, It, The Godfather trilogy, The Thing, Shakespeare in Love, Pirates of the Caribbean, Wilde, To Kill a Mockingbird, Fried Green Tomatoes, Murder She Wrote, and this is just what I can think of at the moment.

Even if you don't like or don't care about most of this list, you can't deny that this is a lot of things from a lot of different genres, many of which have almost nothing sexually provocative in them at all.

The Hays Code didn't make movies better. It isn't the kind of limitation that breeds creativity. The Hays Code existed explicitly to silence absolutely everyone that the Moral Majority didn't like, and I'm sorry to tell you this, but if you're on tumblr then there is a 98% chance that you are one of those people the Code sought to silence. It wasn't made for anyone's benefit except the people who made it and wanted to control as much of the culture as they could.

Things like the Code do not help people, and they do not only hurt people who aren't you. Ultimately, it does nothing except make art unilaterally worse.

[autistichalsin]

I think one understated part of Halsin's character is that he was never bad at leadership per se; rather, he was bad at Druidic leadership, and almost all of this was because of a combination of trauma and moral conflict.

The part about trauma has been discussed many times, but suffice to say, Halsin being forced into a leadership position he never wanted or asked for? It was traumatic. He lost the previous Archdruid, a man he admired greatly, to a curse he blamed himself for, which also claimed nearly every friend he had: "it would take me a day and a night to recite the names of all the friends I lost." He then was forced into said Archdruid's role, not allowed to heal from his trauma, and not allowed any confidantes, because the few friends who survived the battle were now his subordinates instead of his peers. He went from Halsin Silverbough to Master Halsin. It is no wonder, then, that resentment towards the role built to the point that he began looking for any excuse not to fill that role, and that's before you factor in the additional motivation of wanting to see the Shadow Curse broken and seeing the Emerald Enclave refusing to help him.

He says himself he hates the role for forcing him to spend less time in nature to handle the other Druids' problems. He would rather be in nature than solve the personal problems of the Druids. And of course, by the time he leaves, this resentment is far from onesided, as now more Druids than not have lost respect for Halsin. Yes, a lot of this is due to Kagha's manipulations, but also? A lot of this is very clearly due to a conflict of ideals.

For example, Druids are supposed to loathe the undead, yet Halsin cherishes Astarion's presence. He views them as worthy of respect and a place in the world, and sees them as distinct from beings that are both unnatural and inherently evil. This is a MAJOR difference in ideals. This likely contributed to many ideological conflicts between Halsin and the others.

And of course, Druidic leadership, at least here, is implied to be somewhat authoritarian in nature; even the Druids who hate what Kagha is doing refuse to make a true stand against her, and will join in on the Druid's side fighting against the Tieflings if the conflict started. It implies an authoritarian, "my leader for right or for wrong" structure.

By contrast, in the epilogue, when Halsin is at his happiest, he is in a leadership role, yet rather than being Master Halsin, he is Alderman Halsin, and he doesn't command the commune; he guides them, with help from others as more of an elder than anything. He is partially in charge of managing conflicts between those at his commune, yet it doesn't take him away from nature, and he feels he has a place there he truly belongs. Because instead of being forced to be something he's not, he is being allowed to use the skills he has to make everyone, himself included, happy. He is allowed to have friends and peers, and is allowed the family/children he was never allowed to have when making endless, unappreciated sacrifices at the Grove.

In short, what Halsin wanted was to be a mentoring sort of leader, not an authoritarian one, yet the Druidic structures forced him to be the latter, when he never wanted the role at all, and after a highly traumatic event to boot, and with him being forced to follow beliefs that were at times contrary to his own values.

Halsin was in many ways a poor archdruid, but he wasn't a poor leader.

[zvtara-was-never-canon]

“Aang fans have to reach hard to find any sort of “development” in his story, and to justify why it’s acceptable for him to put the lives of millions of people at risk to maintain feelings of purity despite other Avatars (including an Air Nomad) telling him his decision is selfish”

Thoughts on this take? I found it on “longing for rain” blog.

1 - Zuko had THE perfect opportunity to end the war by killing Ozai during the day of the eclipse, but he didn't do so because "It's Aang's fate" and Zuko has a very rigid idea of what "fate" means and how it should affect one's behavior. Iroh also refused to even try to HELP in the battle because it'd make him be seen as a power-hungry kinslayer (even though he had zero intention of becoming Fire Lord). Both of these things can be seen as selfish, especially since they're all about how it'll affect their OWN image, yet only Aang gets labeled selfish. If everyone is throwing the burden on his shoulders, they can shut the fuck up about how he handles said burden.

2 - One of Aang's reasons to not want to kill Ozai is because HE'S TWELVE AND DOESN'T WANNA MURDER SOMEONE, even someone who deserves it. He never asked for this responsibility. He cannot be blamed for Sozin and every Fire Lord after him being a monster, or for Roku's inability to do anything despite being an adult. He's a child. This is not his mess to fix, and yet...

3 - He's not simply going "Sorry, guys, I don't feel like killing Ozai, guess you're all gonna die." He's trying to find alternative solutions - and when he can't find one, he ACCEPTS killing Ozai (and even almost does it AFTER being taught about energybending), despite...

4 - Him being a pacifist and wanting to stay true to his beliefs. He's not trying to be "pure", as in "I'm better than all of you 'cause I don't want to kill", but as in "I don't wanna be a hypocrite that preaches one thing but does the opposite" - thought I suppose I can understand how someone how tries to get praised by trying to pass off AI bullshit as actual art made by them would have a problem with a main character that vallues being an honest person.

Aang's development is not the same as Zuko's of "I need to completely alter my way of thinking" because AANG WAS NOT THE ONE SUPPORTING GENOCIDE. This doesn't make Zuko a better written, more realistic, or "more developed" character, it means he used to be a monster and now he isn't one anymore.

Aang's entire struggle is constantly having the world trying to beat his innocence and humanity out of him so he is nothing BUT the Avatar, just a super soldier/weapon that lives to sacrifice everything for everyone else's sake, while getting nothing in return because "it's his duty." His character arc is about realizing these "necessary evils" aren't actually necessary at all, and that he CAN save the world without destroying his spirit and identity in the process. He doesn't have to see the "error of his ways" because he was not the one in the wrong for saying "Fuck you, I'm a PERSON, not your sacrificial lamb."

And idiots like this particular dumbass would realize it (or rather, admit it) if they only they didn't have a giant stick up their pretencious ass and could get over the fact that their fanon ship "lost the ship war" TWENTY FUCKING YEARS AGO!

[raven-at-the-writing-desk]

I'm sort of confused on Silver's personality. I know the game typically portrays him as someone who is empathic/kindhearted/etc., but after looking through his battle lines and the Glorious Masquerade tower scene (where he's joshing with Sebek before they go to fight the flowers), it seems like he lets out a different part of his personality? Battle lines were sourced from the wiki.

I initially thought it was exclusive to when he's fighting, but in his dorm uniform vignette, he's just praising Sebek's skills during their sparring (unless sparring vs. real fights prompt different reactions from him, but he doesn't seem to have the same cocky dialogue in book 7 either).

For reference, I'm EN only.

To those he considers his allies, yes, Silver is generally cordial (if not blunt) and empathetic. If it’s a situation where he has to protect his loved ones? Then Silver has to get serious and take down those threats. At the end of the day, he’s a knight and he has duties to tend to. However, it’s not so much of a confusingly merciless aspect to his character, erasing his empathy, or showing a hidden dark side to him 8as it is just another facet of who he is and an extension of his preexisting traits.

Given the opportunity, Silver tends to opt for discussion first before attacking or deceiving. Notable examples of this include Fairy Gala: If (where he expresses guilt for tricking the fairies and suggests just talking with them instead) and Endless Halloween Night (where he attempts to speak with the ghosts… until his peers ruin it by preemptively attacking them). In the cases where he does have to resort to violence, it usually comes with this air of reluctance, he’s almost never the instigator (but instead follows someone else’s lead, like Jamil in Endless Halloween Night), and/or he apologizes to those he beats down (book 7). When listening to the audio for the battle lines (I’m not sure if you did this too or if you just read them), I don’t really get a sense of arrogance from how Silver speaks. They’re mostly pretty neutral and soft. Because of this, I don’t think he takes any genuine joy or pride in striking others down. It’s just… something that comes with the territory and the nature of what he does. A “necessary evil”, you might say.

I cross referenced fan translations and native Japanese speakers in my own life about Silver’s battle lines. They seem to be pretty accurate, so the explanation for the can come down to a few things.

One idea is that the Diasomnia students just speak melodramatically; this is something that Azul and Idia remark on in Glorious Masquerade:

Having others misinterpret the meaning bc behind their words and body language is a detail that may ring especially true for Silver, as his Dorm Uniform vignettes center around a misunderstanding between him and some mob student peers. Lilia notes that while it may be easy for him, Silver’s father, to read and to understand Silver’s emotions and the intention behind them, this may not be true for others.

Let’s circle back around to Silver and his identity. Being a knight is a Big Deal for him, who wants to have the power to protect the people he loves and to “pay back” what he feels is owes to his father. He even references the fruits of his training and physical prowess in various battle lines. The pride Silver has in his own power, then, comes from that selfless desire to fiercely defend the things he cherishes—but as his Dorm Uniform vignettes show us, it’s so easy to misinterpret his aloofness as something else. Due to this + the dramatic flair of the Diasomnia students, maybe some players misunderstood Silver’s battle lines as being more arrogant than he intended for them to be.

Another idea that I think also makes a lot of sense is just how Silver perceives the situations he’s in. He’s able to be a lot more amicable when he’s fighting alongside Sebek, his childhood friend, fellow knight, and pseudo-little brother figure. They have known each other for so long that they can read each other’s true feelings and can perfectly coordinate their attacks with one another. Silver understands that Sebek lashes out because he’s embarrassed and this is how he shows affection; Sebek knows that Silver is empathetic and kind but that others fail to see if because of Silver’s stoicism, etc. They can afford to poke fun of each other while they train or do a practice sparring match—and Silver, being the older one, naturally feels a sense of pride seeing Sebek make improvements.

In Glorious Masquerade, Silver and Sebek are panting and starting to get tired from fighting the fire lotuses… and yet they’re still able to lightly tease each other, pointing out that the other is slightly faltering. This is how they communicate with each other, because they both have too much pride to show weakness in front of their fellow knight.

It is Sebek who suggests having a competition to see who can cut down the most flowers, NOT Silver. Knowing that Sebek is the type who conceals his emotions with fake bravado, it’s very likely that the competition was Sebek’s roundabout way of encouraging Silver and giving him motivation to keep fighting.

Alright, now pay attention to Silver’s face between the first and second screenshots here:

At first, Silver seems surprised. Almost immediately after, he’s doing that soft, lopsided grin while seemingly saying a really arrogant line about how he’s going to essentially mop the floor with Sebek and secure the victory. Looking at this scene from an outsider’s perspective, Silver’s weirdly being stuck-up to his friend in these dangerous circumstances… and that’s the thing, it’s the OUTSIDER’s perspective.

Given how well the two know each other and their respective communication styles, I’d wager this scene isn’t how it appears on the surface level. Again, it is Sebek who suggests the competition… after he notices that the chips are down. Silver knows that Sebek is brash in his efforts to cheer others up. That is most likely what Sebek is doing now, and that’s why Silver so quickly rebounds from shock to smiling. When he says, “I was just worried about how I’d calm you down when you inevitably lost”, it doesn’t necessarily have to read as an ill-timed taunt. It could also read as Silver joking back to try and ease Sebek’s weariness and grant him some motivation too.

Lastly, here’s the boring meta answer (booooooooo): things that are said or happen in battles/gameplay don’t always match up or make 100% sense in the context of the narrative. For example, playable characters don’t always have the same stats as when we battle them as mini-bosses, somehow you can have a whole team of the same character, etc. For Silver, the battle voice lines he has do not make sense for every battle he takes place in for the main story, and thus he may not truly be telling Silver Owls “Know your place” (which does, in fact, sound a little hostile OOC) when you deploy him to fight. You have to also consider that we have like… zero explanation for any battle lines other than they’re battle lines. This is completely unlike the main story which has tons of context and set-up.

Thinking of it like this, we can clearly separate battle lines from lines of extended dialogue shown in the main story, vignettes, etc. It doesn’t mean the Silver we see in battles isn’t “real”, it just means the Silver we see in battle segments won’t accurately reflect his current state of being at that point in the story because he doesn’t have specialized voice lines to suit each scenario. Silver has always consistently been kind-hearted and willing to hear others out; this was not changed even in book 7. It only appears that he has oddly stuck-up and out of character voice lines because our brains want to stitch everything together into a single narrative even when the gameplay meta and the story meta don’t want to align.

[ijustliketoreadstuff]

A trailer for season 6 released! To keep this short, I’ll only go over some major details. No one tell me any other spoilers!

Starting off with Lila, here we see that her transformed appearance completely hides any detail about her, appearing almost like a ghost.

Of course we don't know for sure if this is even her true appearance since we do not see the butterfly miraculous visible on her body, the way it normally is with any holder, but from the looks of things, this dark, faceless, purple appearance Lila has, may actually be something else entirely. It’s normally typical of us to see someone like Hawkmoth on screen as he akumatizes someone, but for the person being akumatized, it’s a whole other experience. The akuma usually forms a link between the person being akumatized and the holder of the butterfly miraculous, they didn’t see hawkmoth, they could only hear him speak to them, they felt his presence with them, and perhaps that is what we see with Lila, this is not her true appearance, it’s how her presence is felt by the people she is akumatizing.

Even more interesting is the akuma Lila is creating. When Hawkmoth created his akumas, they all looked the same, it was just a matter of how powerful he wanted to make them, but for Lila, the butterflies seem to have taken on an entirely different shape than the first time she used them on herself in the London special, meaning its likely she has learned to harness her abilities over the time skip and may have created an entirely new akuma, one that surpasses anything Gabriel made. 

In the first shot is a nice little detail with the person Lila is trying to akumatize literally sitting in the palm of her hand, showing she’s the one in control and has successfully manipulated them to accept the power she offered, but for evil intentions.

In total the trailer shows four akumatized villains, aside from Roger who’s akumatized form has been seen before, the other three are brand new. What’s more, they are entirely new people introduced into the show. Of course any info on who these three are has yet to be released, but their akumatized forms does reveal something about them.

The first akumatize villain looks to be a referee of some sorts, maybe that was a profession of theirs and the reason they were akumatized. Them saying, ”Defeat ladybug”, must mean they have control over some form of henchmen with their power.

The second villain appears to be a child bringing to life the doodles they draw, fitting as their design includes a pencil design. The third villain looks like an Olympic athlete.

Why these people were akumatized could have been for any number of reasons, but unlike Gabriel who mainly targeted whatever negative emotion he could sense, Lila might have had a completely different approach for who to select. Looking at the three new akumatized villains alone, a referee, a child bringing their doodles to life, and an Olympic gold medalist, might all have something in common, perhaps their forms all reference a dream they had that couldn’t be achieved, until Lila offered to help them.

Of course this is mainly speculation based on discovering that Lila watches Alec’s tv program where he helps others fulfill their childhood dreams. Lila was also known for lying to others about offering them a chance at an opportunity they’d enjoy or would genuinely help them in their futures, through whatever “connections” she had, all of which were of course lies to sway them to her side.

Switching to the hero's side of things, Ladybug is shown in one shot protecting a man and who is likely his daughter, both of which are also new characters in the show. They seem to be on some sort of running track, so the daughter must be the runner since she is wearing the proper running attire. All three of them are looking at something, and since the Olympic villain is the only one who looks to be of an athletic theme, it’s probably them, hinting that whatever happened on that running track, led to that person being akumatized.

In one of the shots, we see the main four, Ladybug, Cat Noir, Rena and Carapace. The entire team is not present but that's expected because despite the entire team being permitted to keep their miraculous at the end of season 5, Ladybug and Cat Noir will not need everyone present when there is a fight, they will instead do as they have always done and just call on any one of them for help if the mission calls for it.  

We do however, finally get to see two other members of the team, Miss Hound and Pegasus, both of whom also have upgraded costumes.

Max in particular seems to have a new style for the horse miraculous. Marinette did say she was planning to upgrade the miraculous, while also making them prettier as she restored their form. If she did this for the horse miraculous using her power of creation, then the others may have been changed to better fit a more modern time as well.

However, in another shot, it’s shown that Sabrina is trying to give back the dog miraculous to Ladybug, who does not want her to give it back and instead tells Sabrina, “I know you're a good person”. This must be going on during the events with an akumatized Roger, who is Sabrina’s dad.

Something must have happened that made Sabrina doubt she was fit to wield one, and fighting her father while he is akumatized likely made matters worse. Sabrina’s behavior in believing she is not worthy is expected. After all, having previously been friends with Chloe since childhood, Sabrina was accustomed to living a life where she would follow strict orders and be told how incapable she was at doing things when something didn't go Chloe’s way.

Learning to acknowledge and correct her own mistakes, and understanding that she can have the confidence to do things for herself, was not something Sabrina was used to. Marinette would understand how Sabrina was feeling because she faced the same feeling when she doubted her worth over being a hero and had even attempted to renounce the Ladybug earrings in “Origins”. Sabrina is normally not seen doing things on her own, but now that she is no longer friends with Chloe, it will be interesting to see her find her own independence. However, seeing Sabrina feel uncertain about keeping the dog miraculous, does raise the question if she will have these feelings again as she learns to find herself away from Chloe. But again, lets just wait and see what the show has to say.

[tubapun]

Hello All!! As you might have seen, I have spent this last week compiling all the monsters listed in the Scooby-Doo Encyclopedia (which covers every series from Where Are You through 13 Ghosts) into a spreadsheet, categorizing them by type, realness, and series. This is an ongoing project, but I wanted to be able to share what I have so far in terms of data!! Let's begin with a breakdown of Monster Types!!

This first pie chart details the breakdown by pure monster type, meaning monsters that are only one sort of monster. This may seem arbitrary, but as you can see, a whopping 25.98% of all monsters across the series included are some sort of combination monster. That's the largest category overall, but the largest specific category is Ghosts, with 19.61% of the 204 listed monsters being just a pure ghost. Some are sheets and some are just glowing translucent dudes, but either way they're haunting the gang intensely.

The only sort of monster that never appears outside of a combination is the Pirate. I almost excluded that category for this reason, but enough pirates existed in combination (always with ghostliness) that i didn't feel right dropping them.

This chart is much like the first one, but counts the combination monsters in with each type they contain. Because of this overlap, the percentages technically add up to 138.92%. but that's fine, cause they're still taken out of the 204 monsters. Now we can see that 37.44% of these monsters are some sort of Ghost, with Magic Users and non-anthro Animals being the next largest categories. For those counting, that's 76 instances of a Ghost type monster, most of which are combined with some other monster type!! Speaking of which...

These two charts detail the combinations, with the first one being about the sort of combos we get and how often they occur, and the second being about the instances of each type in the totality of the "multiple" category (total of 53 monsters for those of you who want the numbers from the percentages).

Notably, 69% of combination monsters are Ghosts. Nice.

Some monster types never get combined, however, with Skeletons, Robots, Cavemen, Greek Myths, Mummies, European Legends, Dragons, and Evil Humans always occurring as just themselves with no extra modifiers. But now you get to imagine a Dragon Skeleton Mummy, or any such combination and boom. Scooby-Doo Monster OC. You're welcome.

This concludes the data I currently have analyzed/available. I hope to have more soon, either a dive into which sort of monster is most often real or a dive into type percentages per Series (most of the real ones seems to be the ones from the Scrappy series, so I bet that will overlap the two categories). If you have any requests on data or even just want to see the actual main sheet these charts are pulling data from, please let me know, this has become a passion project in a very real sense.

Edit on 9/8: Here is the Breakdown of Monster Definitions with bonus stats on common Motives and Realness

Edit on 9/7: Fixed the first two charts to reflect an update in the data. I had initially placed Greek onster in the general European section, which caused their percentages to be flipped.

Another Edit on 9/7: Somehow missed that a character named "Ghost of" was in fact a ghost/magic user and not just a ghost. this has been fixed and the charts updated (thankfully the % of combos that are ghosts is still 69. nice)

Edit 9/8: I missed a monster somehow. This has been fixed in the charts and percents and numbers listed.

[theolivetree123]

Elias's Fantasmic Adventure!

My 200 follower special!

(More under the cut!)

Event Summary

When Elias was younger, he always loved to read fairytales. Yet, there was one book that told a story that stuck with him till the present day. The story was about a creative and joyous mouse who, while asleep, dreams of himself on a spectacular journey through the depths of his own imagination. Elias loved that story, but as the years went on, the book fell into obscurity. No one in all of Twisted Wonderland seemed to know anything about this book! Elias thought he had been dreaming about it for years until he saw the same book in NRC's library. Though it was covered in dust, Eilas still felt the exact same spark that he had felt when he was little. As to not let the story fall into obscurity again, Elias begged Crowely to find a way to let people know about the book, yet Crowely couldn't help him. Elias almost ran out of ideas until he remembered a rhyme his mother would tell him.

Here in your mind

It’s magic you’ll find

When out of the night

Dark forces ignite

To blind you with frightening schemes

If you use your might

To brighten the light

You'll create night of wondrous dreams

This inspired Elias to put matters into his own hands. With funding from Kalim, Elias sought to put on a wonderful water and light show spectacular as a homage to his favorite fairytale. But, he will need actors and dancers! Help Elias create a nighttime fantasmic!

Actors and Dress Code

In the fairytale, the magical mouse goes on a trip through his mind. In his dreams, he sees wondrous, beautiful, and dangerous things. Since this live show is supposed to be inspired by that story, Elias would like all actors to dress appropriately for whichever part you may be going for. Of course, there is still a lot of room for you to be creative!

In this show, Elias will be playing the part of the mouse, who, fast asleep, dreams that he is a mighty sorcerer's apprentice with the power to control water, color, and magic.

In the original story, the mouse sees things such as:

A vibrant jungle

Elephants on parade

A Genie who can grant any wish

A large ocean with all sorts of creatures

Pirates

Fairies

Beautiful princesses

Evil monsters

Powerful dragons

With these in mind, you can decide how you want to be perceived in Elias's dream! Do you want to be a beautiful prince or princess? Or do you want to change Elias's dream into a nightmare?

Here's some references:

For your character's outfits, make them vibrant and fantastical! Anything can happen in Elias's dream!

If you're still stuck, then go watch the original Fantasmic! It should give you ideas for your character's outfits. (Yes, I know that the link is the outdated version, but tbh they didn't change much from the one linked and the updated one so IT'S FINE)

Rules

No NSFW!

This event will start today (September 3rd) and end on September 30th!

Anyone can participate! Whether it's an OC, canon character, or even a staff member.

You can participate by making cards, writing fanfics, or drawing fanart! Anything is cool!

If you make a card with voice lines included, please try to explain what role your character will be taking in the show.

Once you've made your entry, please tag me and use the hashtag, #EliasFantasmicAdventure!

Here’s the base if you’re making a card:

Actors

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

Elias Miel by me!

Joseph Akaba by @readsrandomstuff67

Yuya Florence by @cheerleaderman

Melione by @the-rini-rush

Flori by @bunniehunn

Zagarius Hekkate by @screamintoad

Makaria Hekkate by @blood-red-bumblebee

Mariah Amathyst by @slumberingrose-fandom

I look forward to seeing what you all create!

If you have any questions, feel free to dm me or send me and ask!

[waffowo]

I cannot stop thinking about how Metal Gear Solid V: The Phantom Pain ironically fits as the missing link of the Metal Gear Solid franchise by being this ambivalent and spiteful text that could only be possible because it exists after Metal Gear Solid 4: Guns Of The Patriots.

Like think about it. MGS4 is Kojima’s perfect farewell in how it encapsulates his complex relationship towards his own series, his own cynical but still very much hopeful take on The Irishman (2019) if you will. The game simultaneously reveals Kojima’s hope and affection by pulling every known idiosyncracy to a hyperbolic degree but also his exhaustion and suspicion through Snake being not a hero but an old killer and his reflections on his role as a pioneer of the military-stealth genre within the gaming industry. It even seeks to tackle the behemoth of closing at least the majority of the loose narrative threads. As a consequence, any future game is attacked with the question of purpose since Kojima has already said what he needed to say. 

Through this question is how MGSV can even be allowed to exist because it affirms that the question is rhetorical. The game chronologically exists in a liminal space in the middle, neither here nor there. It even narratively exists as a structural ouroboros, a almost completely closed system which begins and ends on a mirror. Kojima elevates this sentiment to an extreme level by denying any kind of player satisfaction (or nostalgia) by still being an encapsulation of a lot of overarching themes now filtered through a lens of condemnation. 

 There is at least this sense of valour found in the main cast of MGS4. There might not be any heroes but you can tell that at the end of the game, there is a sense of dignity. MGSV works completely opposite to that. The central cast of MGSV is so pathetic that the game plays like a tragicomedy as they aimlessly wander about, overdosing on some serious fucking copium that taking revenge will bring peace. A particular venture you know that’s doomed but can’t help but watch. Phantom Paz expresses this so unsubtly yet so perfectly in her final cassette tape. Peace Day is always going to be a mirage and has been even since the Peace Walker days, it’s just that Kojima doesn’t always focus on the other reality that these people are all still terrorists and war criminals. 

People who expected Big Boss instead got a confused, empty and depressed war criminal who can be found roleplaying as a cowboy. His other hobbies include non-stop vaping and managing war criminal spreadsheets. Mission 43 doesn’t feel like a descent into evil because Venom is already kind of evil but instead works by acting in perfect opposition to Chapter 1 where you sort through your digital files to identify patterns and promptly send them to death in the quarantine ward. He’s so high up the military hierarchy that of course he can’t help but have a crisis when he is directly confronted with the physical reality he used to be able to meet with mechanical detachment. 

Venom Snake also serves as a perfect way to comment on the overarching theme of agency. However, there’s no final monologue to tell you to think for yourself, no Raiden throwing away the dog tags, no Naked Snake refusing to shake an official’s hand. Instead all these typical moments are denied in every way possible to the point it’s very funny. Venom is not only a castrated protagonist but is also basically a preprogrammed AI with no hope to break free because he’s narratively doomed. Your actions don’t really matter. Even funnier, the ending is perfect by hitting you with the “you, the player, were the war criminal all along” that heightens the tragicomic beats through recontextualisation. What is more mortifyingly funny than realising that you’ve just been playing as Raiden AGAIN but instead of someone that exists beyond the player you have become canonised as an in-world character complicit in perpetuating imperialism. This works so well with how if you listen to the tapes and mission briefings closely, you realise that there are so many contradictions that no one are bringing up. Everyone is lying to you and everyone is telling the truth but it doesn’t matter. Venom just captures the disorientated position of the player, caught in this Pynchonesque paranoid labyrinth that it leaves you confused and speechless. What other choice do you have but to smoke a fat one, it’s not like you can actually resist the game if you’re completely out of the loop. 

Aside from Venom, there is of course Huey who has descended into full on pathological lying and delusion. Even if he didn’t cause the second outbreak, he’s so overwhelmed by guilt and paranoia by his other crimes he’s most likely guilty of that he’s able to beat the truth serum. When you’re rescuing Huey, he literally blames you for the destruction of the MSF. Like literally as you’re hauling ass to get him out. Even more pathetic is Kaz who makes these grand statements alongside Venom about taking revenge that you know doesn’t mean shit. His monologues are so passionate and are so depressing and yet he is met with awkward silence constantly that it’s depressingly funny. 

There’s this amazing usage of comedic timing, after you rescue Kaz and bring him back to Mother Base, where he monologues and says, “Dogs of war for nine whole years…that ends today. Now you’re not sleeping, and we’re not junkyard hounds. We’re Diamond Dogs.” The swelling of the music at the last moment is instantly followed by Kaz being shut the fuck up by a medic who puts an oxygen mask on him and lies him down. No one responds to the speech. Ocelot merely only talks to stop the medic and allow Kaz to get a few more words in out of pure pity. Likewise, Kaz’s extreme cognitive dissonance as he believes he can return to the good old days is so pitiful and poignant you can’t help but to stare with sympathy. 

The end of Chapter 1 shows how far gone he is with a very clever cut as Venom turns away from a vision of Skullface where Skullface is replaced by Kaz himself. Chapter 2 then logically shows him becoming full on paranoid, going full on 1984 Minister of Truth because what else does he have left if he doesn’t have an object of revenge anymore? I remember a moment, where he’s calling you, with this sense of manic fanaticism as he rambles to Venom that it’s time to dig up dirt on Huey and finally get him out for good. It becomes so absurd that even OCELOT tells him to shut the hell up. 

Ocelot is maybe the only normal person on board but that title means nothing in-universe. He’s thriving because he’s happily going along with War On Terror 2. He’s normal because he flat out embraces this and even goes out with his crush dressed as a cowboy. Of course there won’t be those moments where he’s of central dramatic focus here, he is simply here for the ride, his true goal to win the game of 8D chess for the man he’s down bad for. 

This band of losers are completely devoid of real purpose and are so…beta and it works because of how it both confronts an equally important reality of the characters not usually as overt and how MGS4 already closing off the franchise sets up how MGSV’s narrative and characters are already and should be dead. Peace is only possible in the case of war criminals when they’ve been buried. Evoking dissatisfaction might not always be intentional and is sometimes accidental but it works because there is no real satisfaction in beating a dead horse just to see your faves perform one more song. Especially if they already aren’t good people.

[coraniaid]

Actually, on reflection, I think I'm persuaded that the "poor Willow is a magical junkie now and it's not her fault :(" subplot in Season 6 is, contrary to what I've said before, actually the worst multi-episode subplot on Buffy.

Say what you like about the other two contenders for that honor: the non-mystery of "is Giles really the First Evil and why hasn't anyone thought to check yet?" or the banality of "shall we engage seriously with the fact Spike has a soul now and how that might change him as a person, or shall we just say that a mean ghost hypnotized him?". But neither of those plots involve a woman telling her significant other (and I am really not paraphrasing much at all here) "I don't like that you used magic to violate my mind and rob me of my ability to consent to our relationship, because it's not good for you".

Moreover:

While the two Season 7 subplots are both pretty bad and boring to watch and are certainly part of why I don't enjoy that season, I don't think removing or somehow rewriting either of them would automatically make the season much better. By contrast, the Willow subplot of Season 6 is the worst thing about that season -- one which I think otherwise had a lot of potential and is arguably the most ambitious season the show ever did -- and fixing it would improve the season as a whole a lot.

The Willow subplot also takes up a lot more of the show overall than the two Season 7 subplots do. Giles as the First is a complete waste of everyone's time, but it's also fully resolved in less than half a dozen episodes (we first get the fake out that Giles might be dead in Never Leave Me, the ninth episode of the season, and we see that he isn't in The Killer In Me, the thirteenth episode). The Spike hypnotic trigger lasts a lot longer, but it still over within about half a season. But the Willow subplot dominates most of Season 6 and also continues to have ramifications for WIllow's character development (or lack thereof) for the rest of the show.

It's easy, I think, to understand why the writers resorted to the two Season 7 plots. They needed some excuse for Buffy's friends to not trust Spike, but for various reasons are committed to the idea that having a soul means Spike himself is now inherently Good and Blameless and so the reasons not to trust him can't be related to anything he's ever chosen to do himself, it has to be something done to him against his will. And the writers obviously stopped caring about Giles as a character with any sort of inner life the very minute ASH asked to be partially written out of the show so he could move back to England. I honestly don't believe the writers were capable of writing good subplots for either Giles or Spike by this point, even if they'd tried. But the Willow subplot comes out of nowhere and completely derails what was going to be a really interesting story line about Willow that the show had been patiently building towards since at least Season 3 and arguably even longer.

More broadly, both the Season 7 plots are bad in part because they are attempts to make the First -- previously a forgettable monster of the week whose primary powers included 'making people who have done bad things feel suitably bad' and 'not being able to touch anything'; a plot device which Buffy herself already rightly dismissed as all talk all the way back in Season 3 ("I get it. You're evil. Do we have to chat about it all day?"). Of course they're not successful attempts: there's no way to make the First as menacing and important as the writers wish it was. Being annoyed at the way they fail almost seems like missing the point.

Most importantly, I can more cheerfully ignore the two Season 7 subplots because I don't really care about either Spike or Giles at this point of the show's run. But I like Willow, so it bothers me more that she's subjected to all this dreadfully bad writing and that her character never really quite recovers from it.

[mdhwrites]

How Terrible of a Parent is Odalia?

TL:DR: If we ignore narrative bias, Odalia is at best a little bit of a helicopter parent and nothing else. Her being a bad person actually doesn't translate to her being a bad parent and we actually have very little evidence that she is actually even that controlling.

So I want to start with saying that this isn't about whether Odalia is or isn't a good person. She is not. The show is cartoonishly evil with her... But in weird ways for their goals. Her most evil acts actually have little to nothing to do with parenting. Letting the rest of the Isles die for the ascension of her family? Technically not the worst parenting move in the world from a purely literal perspective of trying to provide the best future for your kid. Trying to murder Luz? Well, she is the protege of the most wanted criminal in the entire Isles. I can't imagine why Odalia might not want her child associating with her. Weird concept, I know.

And that's actually something to keep in mind with what is seen as her biggest crimes: Kicking out Willow and getting Gus, Willow and Luz expelled. If we shift perspective a little... Odalia is just right. They are bad influences who are negatively impacting her daughter's ability to learn and better herself. Why would she want Amity to continue spending time with them?

Yes, this includes tiny Willow. The ONE thing we see of the two of them as friends is them SKIPPING CLASS and hiding from the instructor, only for Willow to fail, get them attacked by animals and then in trouble. I'm sorry but that doesn't sound like a good thing to me. Even just trolling around the market and pranking some people in your own free time is better, which is the worst thing we ever see Boscha do in this sort of regard. Sure, Boscha is a bully but not to an extreme level (King makes a fucking point of how tame she is) and doesn't get in the way of things like school or work for either herself or Amity. For what Odalia cares about, which is Amity improving herself to have a better shot at a good future, which is not a bad thing to want for your daughter, it's what Camila wants by sending Luz to Summer Camp, why would she condemn Boscha instead of the one playing Hookie?

Then we get the fact that Dana literally had a list of crimes stated out for why Luz was a menace since joining Hexside. If we shift the perspective to be that seeing the photo made Odalia go "Well, there's one bad influence, her grades are slipping and I did hear that something happened during Grom... I'm gonna look into this," rather than "I MUST CRUSH THESE PEOPLE WHO MAKE MY DAUGHTER SMILE!" then her actions seem pretty justifiable. I mean, before Luz even joined the school, her and Gus were skipping class and causing massive property damage. She was cheating on Willow's assignment and breaking in. The Grom one is bullshit but Luz is genuinely a menace. Not a Spider-Man, J. Jonah menace but genuinely causing problems and damage. And again: In active connection with the most wanted, WILD WITCH, in the ISLES. With that, Odalia almost looks like the only sane person here.

Now mind you, main character bias, the fact that we know Eda is barely a criminal, etc. like that but Odalia doesn't have any of that. By the rules of her society, you know like Camila had to act from Luz threatening to vandalize her school with fireworks and assaulting her principal with a wild snake, she has every right to think Luz is bad. To think Luz is the worst possible person for her daughter to spend time with. Sure, she smiles... Now... But what about when life catches up? Breaking the rules is fun after all but there are consequences, at least if you're not Luz.

But what about her general parenting style? She places crushingly harsh restrictions on Amity after all! Well... No?

Here are her demands: I want you to keep your grades up but if you help me, I will let you dropping to being a B student slide with no further punishments.

Please wear this necklace so I can talk to you when I need to, much like texting a cellphone would do.

Please aim for an Ivy League school because I believe you are good enough for that and I will give you the support to reach that height.

I would like your hair to be green.

I mean... These all sound... good? Now yes, pushed to the extreme they can be bad. If there is no leeway, like if Odalia forced Amity to spend every second studying, threatened to disown her if she didn't get into the EC and demanded 100s on every test then yeah, she'd genuinely be abusive but she's not. Amity appears to have PLENTY of free time where she is entirely unmonitored and allowed to do as she pleases. This isn't even just post Escaping Expulsion. She spends time just hanging out with Boscha after all. She's able to run out into the woods to angst about Grom coming up. She goes to the Knee to train but that's without any supervision besides the twins who are known troublemakers (pin that in the back of your head btw). Even the necklace isn't like full control over her. It never overrides her body or mind. It's literally just sending messages. That's nothing, especially for a fantasy mom? Oh my god could that necklace be way fucking worse. When forcing her to dye her hair green, but not entirely so Amity must have some amount of say as to the styling of it or else her front half star wouldn't be allowed to exist, is the worst thing she's actually doing with evidence to back it... That's pretty fucking tame. It's like telling your kid "No, you're not allowed to have giant chains on your pants because they make you look like a thug." Oh and on the disown element? Amity literally tries to sabotage her mother's company and attack her and Odalia's reaction is just to go "Yep, that Luz girl sure is a menace, with a literal bounty, but you're still my daughter." That is the patience of a god damned saint right there.

And hey, what about the twins? They're Odalia's kids too. They don't fear Odalia though. She is neither of theirs greatest fear. In fact, they'd rather be with her than alone, because being alone is at least Edric's greatest fear. If she's as monstrous as the fandom likes to say, that should not be the case. Also, they do skip classes like Willow made Amity. We know this because Amity literally states it in her diary with frustration that no one does anything about it. That implies she tried getting people to do it. So why didn't Odalia crack down on them? Do they do things for as deals to get away with their freedom like Amity helping with the Abomaton show? I mean, same episode we meet them, they show up because Odalia told them to bring Amity her lunch because she forgot about it. Odalia cares enough that she'll see her daughter forgot her food, doesn't have to ask Amity where she is but instead keeps enough of an ear on her daughter's life to know where she is, which avoids some amount of claims of neglect, and sends Edric and Emira to the library. This could be read as not wanting to bother with it but just as easily it could be "Sweet, an excuse to force my trouble making twins to go to the library where they might actually study for once if Amity forces them to." It could also be that because she runs everything about Blight Industries besides R&D, she was just too busy, which is not the greatest sin in the world despite what kid's movies will tell you.

So... Why is Odalia labeled the worst parent ever? Why is she made out to be as abusive as Belos, who will literally kill Hunter if he's displeased enough, when there's so little evidence for it? Because I wouldn't bother with this sort of blog if not for the claims the fandom likes to make. The exact same claims that led to my first ever TOH blog that was about the contradictions in how people talked about Odalia post S1 and literally every piece of evidence we had. Is she flawless? God no. But this is a show that criticizes Camila for being too oppressive as a parent.

MAYBE it's a little misguided on what parenting actually is and you should question how it portrays its parents. See you next tale.

======+++++======

Oh, small additional edit to expand briefly on Clouds on the Horizon: Her kids literally attempt terrorism and her response is to ground them. Just. Ground them. With one person keeping an eye on them. Sure a trained guard but they just tried to commit TERRORISM.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[i-should-probably-get-out-more]

DRAGON AGE VEILGUARD SPOILERS AHEAD

Finished veilguard after forty hours (sixty if I include the one I started then quit to change faction and class lol) and it feels ridiculous but I am devastated. ( warning this is long and rambling I’m just very upset)

This is the game I waited ten years for? For them to butcher characters like Solas and Morrigan and make crappy writing decisions that feel like a spiteful slap in the face to returning players? It’s like I was playing a game based on a fanfiction of dragon age.

Not to mention the absolute upheaval of lore established in previous games. Am I seriously expected to believe the entire Qun military just decided to up and leave? And that news of two ancient elven gods didn’t cause any sort of uprising or backlash against the elves? Speaking of elves, two gods from their pantheon they worship are out and about and evil and there’s hardly any reaction? Where are all the agents Solas had in Trespasser? Neve and Harding wake up physically in the fade and aren’t freaking out?

The thing that angers me the most though, is what they did to the south. I cannot believe they thought “hey let’s destroy the entire south and render every decision players have made up until this point meaningless!” and thought this was a good idea. It’s clear the devs want a clean slate for their next game, and man did they do it. May as well have let the blight destroy Fereldan, or let Corypheus win for all the good it did. I’m not even going to get started on Varric.

And that post credit scene. Way to take the nuance and choices away from basically every character and villain up until this point. Surprise! It was actually the evil guys across the sea all along! To me it’s the equivalent of writing in primary school and ending the story with “and then they woke up”.

As far as I’m concerned this is not canon. Real canon ended with Inquisition and when the writers who made it what it was left. As someone said on reddit, turns out dragon age without David Gaider isn’t dragon age at all.

Does it feel silly and ridiculous and over the top how upset I am? Yeah, it does. I know it’s just a game. I know there’s so much worse in the world. But these games and books have been a massive part of basically half my life now. They helped me get through some of the hardest things I’ve had to face , and were an outlet and escape and it almost feels like part of me. And to have it feel like it’s been ruined by writers and devs who don’t care about the players or past games really sucks.

Time to replay the first three and pretend this never happened, and just accept that it’ll never be known what happens after Inquisition, unless David Gaider decides to save us from this misery and write a book or something.

(also fyi, not a criticism to those who enjoyed it, I’m glad there’s some people having fun at least )

[maxdibert]

Dumbledore was not raising child soldiers. The youngest people in the Order we know of (in the 1st war) were the Marauders and Lily and they obviously joined after they graduated. So this argument doesn't apply to first war Dumbledore. 2nd war was different, he did groom Harry to be his child soldier but Harry is an entirely different case. He was a weapon. But to your comment about him and Tom... I do not think he is responsible for what became of Tom. Yes he could have guide him, but why put that job entirely on his shoulders? Dumbledore didn't know what will become of Tom. He simply knew he was a troubled kid. But was it his job to bear the guiding? I believe it was Slughorn's job as every other teacher around him. Dumbledore was acting decent and polite, just like he would with any other child, the first time they met, so he didn't ostrazice him. And through Tom's student years we only saw them interact after the Chamber of Secrets incident where Dumbledore had some suspicions he couldn't prove. Tom was failed by every single adult around him. In the orphanage and by his teachers. His environment that fueled his ambitions for power and control (both at the orphanage and among his peers) connected with his antisocial personality traits and the authority figures failing to help him just made him the way he is and shaped him into the violent man he was. I don't know if some actions on Dumbledore's part could have prevented that. Dumbledore might have helped but Riddle was doomed from all of his environments and a simple figure would probably not change much. After all he created his first Horcrux (the most evil act in the books) when he was a teenage student. That shows that he was beyond fucked up and how do you think a man like Dumbledore (busy with his job and occupied with Grindelward war) could have handled all the burden? Dumbledore is not the man for the job. It's not in his personality. He had a lot to do with the war already. Raising an orphan and trying to mold him into a decent person is simply not the task for him, especially at that time. Riddle is the product of neglectful caregivers, poor financial situation, being raised in constant survival state, growing up during the war, being ostraziced and maybe even bullied, having no support system, having noone that loved him, trying to survive in Slytherin and being in an environment where only power could get him recognition and control and having some sort of mental disorder that made all of these situations much worse to cope with. Yes Rowling said he was psychopath but the main theme of her story is that he WAS capable of love and remorse/change but his choices and upbringing made it incredibly hard, almost impossible for him. So she didn't say he is incapable of love. Just that he is an evil person who made shitty choices. Mostly due to how he grew up. But blaming Dumbledore is silly. Riddle needed a strong support system and he simply never got it and Dumbledore was not in the best situation or state of mind to provide what Tom needed.

So don’t be a teacher. My problem with Dumbledore is that being a teacher comes with responsibility, especially if you’re eventually the Headmaster of the school. This isn’t just Dumbledore’s fault, it’s the fault of all the adults at Hogwarts, who for the most part are completely incompetent when it comes to dealing with children. But my problem with Dumbledore is that I find him hypocritical for judging the actions of certain characters who were literally under his care (because if you have children in your charge at a boarding school, you’re the closest thing to a legal guardian they have, and they are your responsibility, including their well-being), and he left them to their own devices because, well, he didn’t care, or they didn’t serve his purposes, or he already considered them lost causes, or who knows what.

The other day I was revisiting one of the shows from my childhood (a horrible, very problematic soap opera, but well, you know, those things that mark your childhood and you have affection for) and it was also set in a boarding school with rich kids. In that school, there was a secret society of very rich kids who tried to kick out the scholarship students because they believed the school shouldn’t accept lower-class people (does that sound familiar?). The thing is, they got caught, were exposed, and were reported. When they were reported, one of the adults said that those kids should go straight to a reform school or be judged and pay for their crimes. Then, a teacher comes forward and says, “Stop, no, no, these kids are clearly not well. These kids need support and psychological help, and we need to understand why they’ve reached this point and why they’ve developed these attitudes.” And it really moved me because that’s what a good teacher is. That’s what someone dedicated to educating young people should be. That’s the mindset, the attitude, and the way to confront kids who take the wrong paths.

And yes, that’s what Dumbledore should have done. And if he couldn’t do it because it wasn’t part of his personality, because he had his own problems or issues, because he was involved in a war, or whatever excuse it was, then he shouldn’t have taken a position of responsibility that involved children. Especially in a pretty hostile environment where many were likely to end up on very twisted paths. And he shouldn’t have waited until some came crying to him as adults, or until some were on the brink of committing homicide, or until some ended up in a cult to intervene. And his way of intervening shouldn’t have been condescending, manipulating them, or even blaming them for their actions. That’s not what a good teacher does, that’s not how a good educator behaves, that’s negligence, and negligence with children and teenagers is terrible to me. Because we’re talking about children and teenagers who spent most of their lives at that school, who were with him more than with their own parents. It was his damn job, I’m sorry, he should’ve chosen something else.

[inbarfink]

Zim Invaderzim is actually a great fit for all of the Nicktoons Crossover stuff as an antagonist cause 

First things first, being a Villain Protagonist means skipping over the sort of issue of, like, if you don’t want a wholly original villain or do something like an ‘Evil Syndicate’ thing… picking just one of your playable heroes’ arch-enemy as an antagonist means that hero kinda becomes the mainest main character over the other franchises?

Like any game featuring Jimmy Neutron as one of the heroes and Professor Calamitous as the main villain… is going to feel like a Jimmy Neutron game first and foremost, cause it’s not like Danny Phantom has any meaningful personal beef with him, y’know? And obviously putting in a villain from a show as the main antagonist without including the actual main character hero is going to feel incredibly strange… but Zim is both the main character of his show and someone who can play villain to every other Nicktoons character! That way the ‘balance’ of all the different franchises is maintained while still having a single and recognizable antagonist.

In terms of tone… I think the ‘Main’ Nicktoons gang ended up being a very good group, not just in terms of representing the main Nickelodeon franchises of that era, but also in capturing the full spectrum of differing tones you could find under the Nicktoons brand.

Like, Danny Phantom is about as serious and action-y as a Nicktoon could be without going full ‘Avatar’, ‘Jimmy Neutron’ and FOP have some elements of continuity and action-adventure elements while still being primarily goofy comedies, and ‘SpongeBob SquarePants’ is really just wacky hijinks and silly jokes most of the time. So having all of them together really smooths over the possible Tonal Weirdness of the crossover.

Like, is the idea of SpongeBob and Danny Phantom crossing over a little strange? Yeah. But it’s much easier to imagine SpongeBob and Timmy Turner crossing over, and also Jimmy Neutron crossing over with Danny Phantom and obviously I don’t even have to imagine Jimmy and Timmy crossing over because they did on TV like three times. So when all four of them are together that just helps lessen the more jarring aspect of this crossover.

And in that regard, ‘Invader Zim’ also fits right in - having a similar ‘goofy comedy with some continuity and adventure elements’ vibe to FOP and ‘Jimmy Neutron’ while being both more wacky and exaggerated and also much darker and edgier with its style of humor…. I think you can very easily imagine Zim crossing over with any one of the ‘Main’ Nicktoons without any major Weirdness and as such he works pretty well with almost every character under the ‘Nicktoons’ brand.

Plus, with his extreme brand of both incompetence and hypercompetence, he’s the kind of villain you can imagine both as a credible threat to Actual Superhero Danny Phantom and as someone who could be plausibly defeated by SpongeBob SquarePants without hurting Danny’s cred as an action hero or SpongeBob’s cred as Just a Silly Little Guy

But also having Zim around as one of the playable protagonists is a great fun because the concept of ‘Zim trying to join in on the heroes’ group by very badly and blatantly trying to pretend to Not Be Evil’ is a clever little way to include the main Joke of Invader Zim’s premise (Zim very badly and blatantly trying to pretend to Not Be an Alien) in a plot where Zim can’t really keep pretending to be human.

Just a great little horrible bastard for Crossovers all around.

[kateis-cakeis]

You know, something something Arthur desperately wanted to see the good in magic at any opportunity he was given.

When Gwen was first accused, when he first met Morgause, when he wanted to save Uther using magic, when he saved the woman from being burnt in that small village, when he was given a choice by the Disir, when he was determined to save Gwen from Morgana's dark magic...

(Honourable mentions include when he saved Mordred and argued with Uther about the Druids being peaceful (they are magic adjacent after all) - and well, given the second honourable mention being his remorse for the raid on the Druid camp when he was young, it's understandable that it comes from some sort of trauma. And of course, the result of that remorse was the promise that he would do everything to prevent it ever happening again, and that he would treat the Druids with respect. Hell, even with Kara he was respectful, even though she committed actual literal treason in the form of an attempted assassination of Camelot's king)

Of course, at every opportunity, Arthur's view that there is good in magic, that not all sorcerers are evil, that perhaps his father was wrong, or that his father had lied, ends up being proven wrong, at least in his eyes.

Time and time again Arthur is shown to consider magic as a more neutral force, like almost as if he's desperate for it to be true. It isn't even necessarily his fault that the opinions about magic and sorcerers that Uther taught him becomes reinforced once again.

The fact that he can even think critically about magic at all is a miracle alone. Like this man who has only ever known sorcerers to use magic for evil purposes, to destroy Camelot, attempt to assassinate him, attempt to assassinate his father, to harm those he cares about - and yet he still he still falls back on, what if magic can be good, what if we're wrong, what if, what if, what if--

And it's only when magic itself reveals himself to Arthur that he can finally see that yes, magic can be good.

Because if Merlin is good, if Merlin is the same person even with magic, then magic is neutral, and sorcerers aren't inherently evil.

Arthur was always going to accept magic, that's the thing, that's hardcoded into his character, he just needed the right push, and that push was always going to be Merlin.

Because as Arthur dies in Merlin's arms, blanketed by magic itself, he accepts that even with all of Merlin's magic, his life cannot be saved, magic cannot save him.

But he accepts it, and accepts Merlin, and he dies having brought about all that Merlin ever dreamt of, truly dreamt of, that Arthur would see him for him, and accept him and his magic. And more than that, what Arthur truly ends up doing is embracing it.

Arthur for whatever reason, perhaps because he was born of magic, perhaps because his soulmate is magic itself, perhaps because he has a heart of gold, wanted to see the good in magic at any given opportunity that presented itself, even though with all that Uther taught him, he never should have seen it that way.

It's just, it's so fascinating, and it's so heartbreaking that when he finally knew, he died. But he'll return, and I'm sure then he can build something better with Merlin, really bring magic back to a time that needs it :)

[goldenwitherphoenix13]

A long post is under the cut, but I think we, as a fandom, moved on far too quickly from the endings of empires smp season 2.

Almost everyone got a happy ending.

Fwhip resigned from the role of the Goblin king.

Joel accended to true God hood.

Sausage grew old in sanctuary and raised Hermes to be an interdimentional warrior.

Gem finished Dawn and chose to stay in Hermitcraft because it was the best choice.

Katherine cured the curse plaguing her land.

Joey got to go on all sorts of adventures after defeating his arch-nemesis Skeletron.

Pix, while not finishing his work, got to tell the story of the ancient ruins.

Lizzie created a fully functioning city of animals to live as they want.

Shelby became one of the most powerful witches and got that date with Katherine.

Scott went off into the sunset with Owen to discover new lands and treasures to steal.

Heck, even Oli got out of debt, even if he ended up accidentally time travelling.

And while False never uploaded her finale, we can easily infer that she continued to expand her empire and make her name for herself.

Who did I miss?

Sheriff Jimmy.

The sheriff, who all the other emperors abandoned. The sheriff, nearly loosing his own identity to a joke. The sheriff, who lost his town to the fae.

Let's not forget Jimmy never left tumble town willingly. He was booted out when the fae corrupted his lands, spreading it throughout his home. He and the old sheriff, Roswell, made the best of a bad situation. I mean, what else can they do? Fight the fae? Fae are powerful creature. Not to be messed with. Fighting them is a one-way ticket to death if they don't decide to hold you a prisoner in their realm.

Jimmy also never got the chance to say goodbye to anyone. Everyone had already left him behind. Joel had accended without saying goodbye to his supposed best bud. Sausage never thought to check in on tumble town. There was no final passing of words—just a note from Fwhip.

And, let's not forget this big bit of information, the thing that still grinds my gears about empires season 2. He is the only villain of season 2 who got no closure, redemption or apology. Shelby was uncorrupted and saved. Sausage supreme was fused into Sausages soul. Skeletron was killed by Katherine, Joey and Shelby. They all got an end to their villainy, wether through being saved or killed.

Jimmy got nothing.

His ending was, in multiple ways, left unfinished. He was still bitter towards the emperors. He was still lacking any human respect. He wasn't given any apology or forgiveness. He was forced out of his home by powerful creatures, trying his best to make good of the darkness left to him.

But it's not all darkness. This isn't a bad ending. I think this end has an underlying subtext not even Jimmy planned for. Something I've seen almost no one talking about.

The sheriff walked away from a toxic environment.

Now is an excellent time to remind you that this is all about the characters. Not the actual content creators. Got it? Good.

Let's be honest. None of the characters in Empires Season 2 were 100% innocent besides maybe Katherine. Some were thieves. Some were filled with pride, some made dubious choices, and some were even a little corrupt. And Jimmy isn't an exception. He was a lil bit dishonest with power sometimes and a lil bit prideful in his name. But the sheriff wasn't evil at first. He still did things to help people. He helped Katherine arrest Joey for theft. He did his best to follow the rules, and he actively sought to stop those committing crimes and try to understand the issue at hand, like with Shelby. And his reward. Constant teasing and mockery.

Everyone, including his allies, still made fun of him. Even his best bud said things behind his back. And this is what made him snap. Not the jokes, but that no one, not even his allies, seemed to show any human decency to him.

And he never got an apology or a moment to put them in their place to tell them that they have done goofed. The sheriff was barely given a chance to build, hardly a chance to breathe. He knows he probably couldn't take them in a fight, but they didn't even give him a chance to talk. They made him sit there and take it like he had no choice.

The sheriff instead chose to walk away. Everyone had left him behind. And with the threat of the fae above him, he decided that the best course of action was to leave the toxic lands behind. Lands full of pranks and mistakes that would only ever remind him of his negative attributes.

The sheriff stayed with the one person who ever showed him any sliver of true friendship—the old sheriff. The old sheriff helped reverse the effects of the lore potion with an unnamed potion he found at Shelbys. He helped Jimmy defend the town from a raid. He stayed with him through thick and thin. Sure, he isn't the best influence, but he's better than the world around them.

Ultimately, Jimmy's finale wasn't the good ending like everyone else's. Villains rarely ever get those. Instead, it's a bittersweet goodbye from the two sheriffs off to find a new home far away to the lands of one that brought sorrow, even if at least one of them has some anger issues to work through.