#also: i realized that in a situation like this the only thing the audience is getting is a full view of NIKE ass

[catofadifferentcolor]

Terrible Fic Idea #92: Percy/Apollo, but make it The Trojan War

Into every fandom, a time travel fic must fall - or in this case a second one, because I somehow got to thinking about the delightful PJO trope of Percy being thrown back in time to The Trojan War and realized that doing so misses out on a fantastic opportunity.

Or: What if post-TOA Percy Jackson and Apollo time travel to shortly before The Trojan War?

Just imagine it:

Everything follows canon through TOA, with one exception: rather than struggle to catch up in the mortal world following the Second Gigantomachy, Percy elects to stay at Camp Half-Blood. There he can homeschool at his own place with programs tailored towards ADHD children and still visit his family on the weekends - and not get into any more ridiculous situations in the mortal world when one of the gods kidnaps him or sends him on a quest to find their sneakers.

This, naturally, stresses his relationship with Annabeth - who, now that she's no longer living at camp full time, calls it the easy way out. But Percy is tired and struggling in mortal high school where everyone thinks he's a delinquent idiot when another option exists seems foolish. Percy and Annabeth break up and drift apart.

Enter Apollo, fresh from his latest stint as a mortal. He's trying to do his best by his children, which includes popping by camp as often as he can get away with - which in turn means spending a lot of time with Percy, who at this point is unofficially running CHB because it's not like Dionysus or even Chiron have done a brilliant job of it in recent times.

(First aid, strategy, and mythology classes are made mandatory. Percy personally ensures every demigod knows enough about self-defense to be able to survive long enough to run away or for help to arrive. Bullying is cracked down on so hard that it's this, not Percy's generally parental nature, that has people calling him Camp Mom.)

Percy and Apollo become friendly. Enough so that some of Apollo's kids assume they're dating and keeping it on the down-low so as not to draw Zeus' ire. Or Poseidon's. Or anyone else's. It's on one of their not-dates that they're yeeted into the past, without warning or explanation.

And so 19-year-old Percy Jackson and post-TOA Apollo find themselves in Ancient Greece c. 1220 BCE, roughly thirty-five years before the destruction of Troy.

The time travel is immediately obvious, as Apollo becomes the closest thing a god might experience to being high the moment they land in the past - being a powerful god in modern times is nothing like being a powerful god at the height of his power in ancient times. It's overwhelming (and somewhat alarming from Percy's POV, but kind of funny in retrospect.)

The specific date is harder to determine, but made clear when Hermes shows up and starts going on about you'll never believe what father's done now: he seduced the Spartan queen as a swan and she's laid an egg. Hera is furious - especially as they're saying the girl that hatched from it is the most beautiful in the world, even though she's only a few days old. It's nuts. By the way, where have you been? You missed the last two council meetings. Do you want Dad to punish you?

Apollo at this stage is very high. He's also been USTing over Percy for quite some time and is worried what the gods of this era might do to Percy without divine protection (smiting or seduction, it's all on the table). But mostly he's very high, and so to keep Percy close and safe he declares he's been off having the dirtiest of dirty weekends with his latest lover and that Hermes' presence is ruining the mood. So if he would kindly leave, please and thank you, he'd really rather get back to it without an audience.

This, naturally, is a surprise to Percy, but he rolls with it because 1) he doesn't have any better ideas on how to get rid of Ancient Greek Hermes so they can figure out what the hades is going on and 2) he's been USTing over Apollo ever since he recovered enough from Tartarus to start feeling attraction again.

Fueled by mutual UST, they put together a cover story that should hold the next time a god with too much prurient interest shows: Percy is now Prince Persē of Gadir - a Phoenician colony that will grow into the future Cadiz - well past the edge of the Greek world at this stage but not beyond belief for Poseidon to have visited, as it's obvious who his father is. They claim his mother is the King of Gadir's youngest sister and as such Persē had a royal upbringing, but was far enough down the line of succession that he was free to chose to sail east and explore his father's homeland. Apollo caught sight of him on his journey, one thing led to another, and here they are.

(Are there easier, more sensible cover stories? Possibly. But the UST refuses to let them consider any of them now that a fake relationship is on the table.)

Deciding what to do about The Trojan War is much harder. On the one hand, it's a lot of senseless death and destruction. On the other, without it we don't get The Iliad and The Odyssey - two of the most influential works of literature in western civilization - and Aeneas doesn't go off to Italy (leading to the founding of Rome, which would change the history of western civilization a lot). In the end, they decide to let the war happen but do their best to mitigate the worst parts of it.

And so Percy goes off and becomes a hero of Ancient Greece while pretending to be in a relationship with Apollo.

This stage of things is filed with angst from both parties, as both Percy and Apollo want a real relationship with each other but think they're abusing the other's trust by eagerly faking their relationship. There's a lot of PDA, a lot of feelings, and limited communication. It goes on for quite a while and would probably exasperate quite a few people if everyone in the know didn't think they were already in a relationship.

It's also filled with modern day Percy being confronted by realties of life in Ancient Greece. It's not just mortals knowing about - and interacting with - the gods: it's everything. It's food and clothes and language and culture and housing and travel. He can play a lot off it as being a traveler from the edge of the known world, but some of it has him asking Apollo if he's being rick rolled.

Apollo, meanwhile, is having troubles of his own. He is not the god he used to be and it's hard pretending otherwise. He tries to walk the line of doing enough to be believable and holding back enough not to despise himself, but it's a fine line, he fails often, and he spends a not insignificant amount of time worried he's backsliding.

And so it goes until 7-year-old Helen of Troy is kidnapped by Theseus to be his wife.

This, naturally, does not fly with Percy, who by this time has built up something of a reputation as a hero. He teams up with the Dioscuri to rescue Helen.

One would think this would earn him Zeus' favor. It doesn't. Instead, Zeus sends monsters to harry him for refusing to let Castor and Pollux take Helen's captors' loved ones captive and raze Aphidna for Theseus' crime. Percy manages to hold his own for quite a while but eventually, exhausted from the near-constant fighting, is gored and left for dead by the reformed Minotaur.

...and when Apollo arrives, frantic, to heal him, Percy ascends instead, becoming the greek version of Saint Sebastian - a minor god of heroes, strength in the face of adversity, and athleticism; sort of halfway between Hercules and Chiron.

Then and only then do Percy and Apollo finally get their act together, confessing to each other how much they care for the other and how much they don't want this to be fake any longer.

History proceeds apace - albeit with Persē being a second immortal trainer of heroes.

24 years after their arrival in the past, 16 years after Percy's ascension, The Trojan War begins. Despite their best efforts, there's only so much they can do - war is war and gods are gods. They are able to stop some of the worst excesses on both sides, but in the end Apollo still sends the plague that causes Agamemnon to take Briseis for his own, which caused Achilles' departure from the field, Patroclus' death, &c - not because Apollo was trying to maintain the timeline, but because in the instant he sent it he was angry and reverted to his old ways.

Troy falls...

...but when Zeus tries to use this as an excuse to ban gods from interacting with their demigod children, Apollo is able to say that's a bit extreme isn't it? with enough backing from the rest of the council that Zeus is forced to amend his ruling so that the gods are only allowed to freely visit their children on the "cross quarter days" that fall between each solstice and equinox (1 February, 1 May, 1 August, and 1 November).

This changes everything and nothing.

Time continues its inevitable march. Greece has its golden age before being conquered by Rome, which splits apart under its own weight and forms several smaller countries, which eventually spread their cultures around the world...

Apollo and Percy are there for it all. Persē is a minor figure in mythology, but never forgotten. He is ever-present in Apollo's temples - though the Church will later try to rewrite their myth so that they were merely sworn fighting partners, rather than lovers who eventually had a quite lovely wedding on Olympus (and then, at Poseidon's insistence, an even bigger ceremony on Atlantis). Percy takes over day-to-day operations of CHB from practically the moment the Trojan War ends.

...and so Persē is there the day Sally Jackson tries to get her son to camp, and is able to intervene when the Minotaur attacks on their border. He's able to meet her and her young son, Perseus ("Mom named me after you and the guy that killed Medusa since you're the only two heroes to have happy endings!"), and guide him through the trials that come with being a child of prophecy.

One day that Percy will hand Luke - who was never happy with the limited attention the gods were allowed to give their children - a cursed dagger so that Kronos can be defeated. That child will be offered godhood, turn it down, and go on to have a happy life with his eventual wife, Annabeth. He will never have his memories erased and be sent to Camp Jupiter. Gaia will not rise until long after that Percy's grandchildren are dead, and Zeus will not be quite so bullheaded when the proof of it is brought before him. That Second Gigantomachy is swift, well-coordinated, and fought without another Greek/Roman war brewing in the background.

And when they finally arrive at the day Apollo and Percy were originally sent back in time, Percy admits that while he is happy some version of him was better prepared for the war he was asked to fight in and allowed his peace afterward, he would change nothing about his own life, for it brought him to Apollo. The sunrise the next morning - on the first morning of the rest of their lives - is particularly spectacular.

Bonuses include:

Gaslighting Poseidon into believing that he's met Percy before the first time they're introduced. ("What do you mean you don't remember me, Father? You were present when I came of age! You gifted me this trident! Have I displeased you in some way?") It's an absolute masterclass that eventually manages to convince Poseidon that, yes, of course he knows Percy - and, maybe, he should check in on all his other demigod children to make sure he's not missed someone. (Two. He lost track of two of the others. Maybe he should be more careful about siring children in the future.) Apollo practically has to stuff his fist in his mouth to keep from laughing.

As much historical accuracy as can be crammed into the Percy trying to make sense of Ancient Greece chapters as possible. Think Of a Linear Circle - Part III by flamethrower levels of historical research. As much as can be shoehorned in without bogging down the plot.

Percy and Dionysus bonding over their mutual dislike of Theseus, though Percy generally gets along with his other half-siblings, especially the ones who come to camp young enough to keep from getting big heads over being the children of Poseidon.

Though Percy adores all the children in Cabin 7 (most of whom are born via blessing this time around), he and Apollo have at least one child of their own - maybe a demigod born before Percy's ascension to sell their fake relationship? Maybe a minor god who's later attributed a different parentage by mortals? Dealer's choice on details.

It never being made clear who, or what, or how, Percy and Apollo were sent into the past. All of Percy's oddities are attributed to him being foreign or formerly mortal, all of Apollo's to the fact that he's in love with someone who didn't die before their first anniversary, and no one ever guesses time travel is responsible for their eccentricities. Or that time travel was ever an option.

And that's all I have. As always, feel free to adopt, just link back if you ever decide to do anything with it.

More PJO Ideas | More Terrible Fic Ideas

[taidotonheiluja]

they would pull this shit on stage

Based on this post by @btw-it-also-travels-in-time.

[chimerafeathers]

there's an essay jumbled up in my brain about dunmeshi's beginning and how clever and deceptive it is as a sleight-of-hand trick that distracts the audience from the depth and scope of the worldbuilding and foreshadowing that's being set up the entire time by dangling zany characters and wacky dishes and biology fun facts in front of us, and how that serves to catch invested viewers off guard when those elements come to the forefront, but also how it works against it with other viewers wanting "more" and not seeing it because the plot bait isn't laid out up front

how people getting frustrated with the characters "not taking things seriously" is mirrored and refuted in the confrontation between Laios and Shuro. how the characters' attitudes aren't just a result of shallow low-stakes "comedy rules" where nothing matters, but are an extension of their personalities (Laios's nonstandard expression of emotions being offputting even to people he knows) and the world and social environment (adventurers being desensitized to death and injury because resurrection magic is commonplace). the way the party refers to "saving Falin" instead of "retrieving Falin's corpse," indicating that they still see her with full personhood, and how that phrasing leads to some readers/viewers believing that Falin is alive in the dragon's stomach, conscious of being slowly digested while the party carelessly fucks around "wasting time." how the weird tonal dissonance makes sense in-universe and yet is deliberately challenged more and more the deeper the party goes

all the character building and pieces of lore slowly weaving together the shape of the larger world, laying the groundwork for the major themes that will surface later. so much is right there in the "low-stakes" early episodes if you know what you're looking for (or pass the perception checks).

it can be so satisfying to see new viewers/readers pick up on the clues even in the earliest "simple" episodes, or notice new things and make connections yourself....and it can also be frustrating to see people dismiss oddities and dissonance as shallow or bad writing because they don't expect a "cooking anime" to have depth like that. why try to question and understand and peel back the layers when you don't expect there to be any layers?

why can't laios take things seriously for once?

[arts-and-drafts]

I decided to start compiling speech patterns and such for the Hermits I watch the most, because being a fic writer is hard sometimes 😭 then I thought “why not share it here?”

so here’s my very rough analysis of my most viewed Hermits, this is just what I’ve managed to gather so please don’t call me out for what I’m missing

-

Scar

Rarely stutters in normal speech. Maybe pauses if he’s started a sentence and doesn’t know where it’s going, but he doesn’t tend to trail off unless something interrupts his train of thought

Stutters a LOT when he’s startled. Also makes ‘hoo!’ noises repeatedly before he finds his words

Lays on the charm THICK when he’s trying to convince someone over literally anything; compliments their looks, their handiwork, and then pitches his proposition in smooth segue. Not one to entertain haggling though (however he DOES do a ‘look if you’ll pay full price I’ll throw in xyz’ thing). King of upselling even the most mundane things.

His tone is cheerful most of the time, no matter what he’s saying. He’ll actually often say very disturbing things with a light voice (ex. when discussing how to retaliate ie “what should we do about him?” “we could kill him! :)”)

Builds and locations somehow are always capitalized in his voice?? Like he says them differently. I can’t really explain it (when he talks about Aqua Town or Scarland or The Big Dig)

Literally has an evil laugh when he thinks of a way to prank someone or mess with people

Hums in thought quite often, and uses “huh!” quite often when confused or finding out something new (Mostly with redstone)

His farewell is almost always “Byeeee, have a great time!” even if the conversation he left was not a pleasant one. I’m almost certain he does this in tense situations just to get under other people’s skin and really push how unbothered he is

Doesn’t tend to insult people, the farthest he’ll take it is backhanded compliments

That said he is not afraid to outright threaten (“I will murder them.”)

References media a lot, both for concepts for builds and in speech (ie his greeting “Well hello there!” is from Star Wars)

Number one exclamation is “Sweet Baby Jellie!”

(More under the cut!)

Grian

Cold opens, both in videos and conversations (rarely says “hello, how are you, etc” when encountering someone, but he does say farewells/‘thank you’s)

Likes to sneak up on people and scare them if he realizes they haven’t noticed him yet, usually does so by getting real close and then yelling (“HEY!”/“HI!”/“WHAT’S THAT?”)

Uses the name of whoever he’s talking to pretty often while speaking to them (“Well, Mumbo, you never know”/“So, Scar, as you can see here-“), same goes for often addressing his audience (“you all”/“you lot”/“you guys”)

Usually pretty focused (when he wants to be) but oftentimes takes a minute to laugh at things he notices in the natural environment (An accidental face in a build, a mob in a strange place, etc)

Takes the lead in a conversation if nobody is the clear leader, but generally only speaks when spoken to if someone else has risen to that spot

Clarifies instructions after something is explained, both to his viewers and to anyone he’s grouped up with (most often seen in the Life Series)

Uses “Pardon?!”/“Beg your pardon?!” most often when surprised or startled (he’s very British), also sometimes uses “Sorry??”

Things are way more funny to him when he’s tired

Deadpans a lot in conversation ie “why not do xyz?” “Well because we’ll horrifically die 😑“

This man is allergic to committing to the bit unless he’s the one that initiated it

Not one to sugarcoat (“how is it?” “well to be honest it’s miserable”)

Number one exclamation is “WHAT?!” (though he often uses “oh my GOODNESS” quite a bit)

Mumbo

The start of nearly every episode is almost a pitch, does the same when bringing up an idea to others (“I have this idea”/“I was thinking”/“I noticed” etc)

Often laughs a little at himself when he speaks

Also often brings up how inexperienced/unqualified he thinks he is with literally any task he’s doing

Gets very distracted with the smallest things

Uses similes a lot when trying to describe a concept (“I’m thinking a this-type thing”/“Something like a [xyz]”/“Imagine like a [thing]”)

His voice gets higher when he’s startled or panicking

A very vocal thinker, which makes sense because he’s a MC Youtuber, but he also just. Seems to think out loud regardless

Comments a lot on the feel of things (“Oh this feels menacing”/“This looks like it’d mess you up”/“This makes it feel very intimidating”), often with building

Extremely modest. However will celebrate when he does something right in redstone/building (“YES! Oh my days, that took forever”)

Once and a while will have a rare banter moment with people he’s comfortable with (ie teasing and making fun)

Related to above, he gets very giggly when he’s hanging out with people he’s familiar with (Grian and Scar most often, but also Iskall)

Number one exclamation is “What on earth?!”

Joel

Greets people most often with “How you doing [name]?”/“How are ya [name]?”

He’s very northern. He often leaves out words in his sentences bc that’s just the way his dialect is (“What you doin’?” vs “What are you doing?”)

Says his th’s like f’s (“somefing”/“nofing”/“finking”) ((Stress also does this))

His jokes/teasing are very deadpan (“I made you this extra thing, because you’re trash at this”)

Actually gives gifts of resources very often, and always leaves it with a little note and signs his name

His voice gets higher pitched when he’s defensive/being extremely cheeky but other than that his tone rarely changes

This man. Flirts so much. If any other person initiates even the slightest of flirty banter he takes that and dials it to eleven I cannot believe this is a straight married man sometimes

Joel commits to the bit 100% of the time (slightly related to above), unless of course it’s jokes about his height

Makes a point to compliment himself if he gets the chance (words most often used are “handsome” “strong” and “humble”, as well as comments about his muscles and physique)

Insults his enemies diminutively (“look at you down there, tiny idiot”/“You’re wrong and also weak”) ((seen most often in Empires SMP)

His most often used insult is “idiot”

When he’s flustered/frustrated he uses “bloody” a lot (ie “bloody heck” or “this bloody thing” (loves to toe the PG line), also uses “blooming” (“bloomin’ heck”)

Most often used exclamation is also “WHAT?!”

Bdubs

Opens videos very jovially, talks almost like a radio host

Breaks down his builds down to the block, spends a lot of time discussing his block pallet choices and giving tips while he builds

Uses the affirmation “sure enough” a lot, and often addresses himself as “Ol’ Bdubs”

Talks affectionately about other hermits often (“[name], the absolute sweetheart, left me some materials”, “[name], you angel!”)

Adding to above, “angel” or “sweet angel” seems to be his most often used affectionate terms

Switches on a dime, though, if he gets offended (which of course causes others to poke fun at him even more)

Calls mobs “stupid” a lot when they don’t do what he wants (but takes it back if he says it to one of his horses ex. “Come here, stupid—wonderful, I mean, beautiful”)

THIS MAN IS THE #1 HORSE ENJOYER. He gets a horse first thing every season and rides it everywhere, and they’re always a focal point of his theme or builds in some regard

Pauses whatever he’s doing to sleep as soon as it’s possible, and gets very antsy if he can’t do it for some reason (“One moment, time to shreep!”)

Related to above, EVERYONE messes with him if he’s trying to sleep in their presence ie breaking his bed over and over, and he gets increasingly more frustrated when it happens

Rarely is soft spoken or quiet, he projects his voice and uses a lot of emphasis in his tone

Either straight up screams (and peaks the mic 😭) if he’s startled or scared, or yells “oh my GOODNESS!!”

Number one exclamation is “HEY!”

[certified-bi]

Okay all my thoughts because some people have been saying that not supporting this change is not supporting artist and creators and as an artist fuck that.

1. Audiences owe you nothing. You have to convince them to engage with your creation not the other way around. This is something both the nonprofit theatre I work with recognizes and huge companies realize. It's just part of life. There are so many talented people in the world making amazing art, videos, music, writings, and on and on, and there's only so much time in the day. I'm not saying you shouldn't know your worth, just that being flippant about how little you care about those who can't pay isn't a good move. On that note...

2. PR is everything. If you haven't made a visible effort to push patreon, channel memberships or other avenues of making money, don't be suprised that your creation that was previously accessible to those without extra cash and to those who can't support foreign subscriptions due either to conversions or because it simply doesn't work, being made private isn't popular. There's a big leap from "We want to have more artistic control" to "We can't afford to make our content accessible to most of our audience," and people are smart enough to see this. You either have to make budget cuts or give into sponsors. This isn't unique to Watcher, it's part of literally every production from broadway, to Hollywood, to YouTube. Unless you can fund it yourself or get viewers to pay(which given how many are already strapped for cash...) that's life.

Not to mention they simply do not have enough followers to make the switch to a paid only site(dropping the first epsiode only on YouTube isn't going to draw people in, they're just going to say "oh why start if I'm not going to see the rest" and not watch) especially not one that is buggy and a security risk. Even if the switch had been supported its not going to end well. The only reason services like nebula and dropout work is because of the large amount of series and creators and the fact those creators still are partly on YouTube so new people are drawn in.

3. As for the price, 6 dollars a month is a not a good starting price for only their content and that's as someone who pays for nebula. I'd be paying the same amount for a fraction of the access to others work. Actually it'd be twice as much. And before someone says "it's only a coffee-" that's for you. Not everyone has your lifestyle. And with every other patreon and subscription service that says the same thing, it all adds up and I simply don't think 60 dollars for 48 videos a year on a subscription basis where you don't get to keep the videos if your situation changes, some of which don't appeal to every viewer is a good move. If you were able to buy physical copies of your favorite series they've made that'd be different, but that's not what this is.

4. I do believe that the employees deserve a livable wage. I also did not hire them. It is not on the viewers that they hired more people than they could afford to. They can charge that much if they want to to try and balance this out. They also shouldn't be suprised if not many can or will sign up. They also don't have to be based in L.A. L.A has ridiculous costs associated with it, and quite honestly it doesn't really add much to the content. I'm not saying they need to move to the middle of nowhere Kansas. Simply that living and basing your studio in a super expensive city and then being suprised money is tight is just weird.

5. Something that occurs to me is that they might get more views if their playlists were better set up. Only some series are given playlists. It'd be easier to find all of the series and binge them if they didn't just show off their more popular shows. Honestly the only draw the streaming site has to me is that the series are actually labeled well.

Do I think the weird ass energy towards Steven is necessary? No. He's not the only one at the company and they're all adults. I actually liked grocery run and homemade, and like to see them back. The parascoial attachment to Ryan and Shane is annoying in people's criticisms, but that doesn't make them completely wrong. If you're going to brand yourself as the anti capalist underdogs you can't get away with being dismissive of your poorer fans. The dissonance is what is causing this backlash and makes you look like hypocrites. I definitely think Steven is turning into the fall guy which is fucked up, his statement and the fact dish granted is one of those shows that make people uncomfortable about wealth flexs doesn't help matters.

[luvsupa]

PRINCE GOJO ENGAGED TO WHO?

tags:fem!reader x prince! gojo satoru, childhood enemies to almost lovers to enemies (☹️), smut, (pussy slapping, fingering, etc.) GOJOS A MUNCHH, ōral (f. receiving), spit gojo gets jealous, ANGST, royalty, arranged marriage, forbidden love, kissing, mdni idk what to add..

w.c: 2.8k

a/n: THANK U GUYS AGAIN FOR ALL THE SUPPORT 😙😙 and this is my first time writing smut like thisss so go easy on me </3

+ likes and reblogs are appreciative 👩🏽‍❤️‍💋‍👩🏽

prince gojo masterlist

engaged?

your heart races wildly as the crowd of guests erupts in applause, celebrating your supposed “engagement.” you tug against his firm grip, but he refuses to let go.

looking up at him, you find him already gazing at you with pure admiration, effortlessly convincing everyone that you two are a happy couple. scanning the room, you spot your parents in evident distress, and your heart sinks further seeing the king in hysterics, his guards struggling to calm him down.

speechless and stunned, you stand by gojo’s side in the center of the ballroom, all eyes on you both.

still reeling from the shock, gojo thinks of another absurd thought. he leans in, cupping your face, and pulls you into a passionate kiss. you gasp at his boldness as his tongue slips into your mouth, eyes widening at the unexpected kiss. the crowd claps even more in awe. gojo then withdraws, his face flustered, planting a kiss on your cheek before lowering to your neck, his quiet moans fill your ears as he deeply inhaled your sweet scent.

“s-satoru, people are watching,” you nervously whisper into his ear, pushing him away, but he doesn’t budge. “mm, let them watch,” he murmurs, raising to whisper in your ear, biting it as you begin to find his audacity strangely attractive.

just as everyone admired at your display of affection, all attention shifts to a horrifying scream echoing loudly through the gala. the crowd near the garden doors parts, and you turn to see ayana, staring at the two of you in absolute shock. she looks utterly unhinged, her always-perfect hair now messy, makeup smeared as she lets out another piercing scream, startling everyone, including you.

she moves closer to both of you, and gojo instinctively guides you behind him, protectively. “you whore!” she screams , pointing directly at you, causing the entire audience to gasp at her words.

“everyone, this pathetic lowlife stole my husband! we were together first, planning our future!” she exclaims, her voice cutting through the room as guests start to murmur to each other. for the first time, you find comfort in gojo's embrace, his touch easing your nerves despite the turmoil he has brought into your life.

but he's also the man who has made it his mission to destroy you.

“says the woman who intended to kiss prince nanami in the garden, knowing he's engaged,” gojo replies sharply, causing your heart to race with fear that he might reveal your connection to nanami. “and hired another man to witness it, ayana. you're different,” he adds, prompting you to loosen your grip on his arm.

hiring another man to witness it.

you never informed gojo about the other man; you only shared about nanami and ayana. your eyes flutter as you glance between ayana and gojo—he knew.

he knew about the plan; he orchestrated this.

“you knew?” you whisper, your voice trembling, as he turns to face you, watching as you begin to step back.

ayana appears amused, realizing you were unaware of gojo's involvement in this scheme. “oh, ruru, you didn't inform her it was your plan?” she taunts, approaching both of you as the audience gathers around, their murmurs growing louder.

the situation overwhelms you—gojo closing in, ayana exacerbating things, and the stares of the audience. i need to get out.

just as you're about to turn and run off, you bump into someone. startled, you look up to find nanami standing there, his gaze piercing as you wish you could disappear, never to face the public again.

“kento...” you whisper tearfully, but his expression remains impassive, focused on ayana.

“everyone, please follow us for dinner in the other room,” ayana's father announces loudly, once again startling the guests, who shuffle away with loud footsteps toward the adjoining room for the next event.

you shut your eyes, dreading the judgmental stares of the guests. after a while, the sound of the doors closing signals that the guests have moved on.

“what the hell are you two doing!” the queen exclaims angrily, her heels clicking sharply on the marble floor as she approaches. your mother trails behind her.

“do you two understand what you've just caused?” mrs. gojo's voice cuts through, making you feel like you've ruined their reputation. “we've planned for a perfect prince—or rather, a perfect king—to marry you, and now you decide to take matters into your own hands?”

gojo rolls his eyes at his mother's outburst, turning his attention to you. he reaches toward you, pulling you into his chest, away from nanami, glaring intensely at him. your mother dramatically wails how naturally you've grown closer to gojo.

“y-your majesty... she's been plotting to steal your son away from me,” ayana interjects, her tone laced with feigned sorrow, pointing at the two of you for proof. hoping to gain the queen's sympathy.

“satoru, you knew she was to marry nanami. stop interfering!” the queen directs her frustration at her son, who continues to disregard her.

“i knew you would do something, but don't worry, i will fix this,” the queen declares confidently as she strides away toward the extended area where the guests have gathered, leaving the four of you alone in the empty ballroom.

you push out of gojo's grasp and exit, needing to distance yourself from everything and process what just happened.

⨯. ⁺ ✦ ⊹ . *

you sit in the carriage—well, gojo's carriage—waiting impatiently for him, knowing no other carriage would dare depart without its intended passenger. voices murmur among the guards, and you strain to hear gojo's footsteps nearing.

the carriage door opens, and gojo steps in, his eyes locking onto yours. “i don't want to speak with you,” you say quickly, cutting off any attempt from him to start a conversation. he nods silently and takes a seat opposite you, his gaze unwavering.

“i had to do it,” he begins, and you roll your eyes at the sound of his voice. “i had to do something for myself. i need you,” he confesses, his words hanging heavy in the air. you stare out the window, watching castles pass by as the carriage rolls on.

“you don't understand how much i crave you. my thoughts are consumed with you. seeing you with him set everything off,” he continues, his second love confession almost prompting a smile, but memories of how he's tormented your life flood back.

the carriage comes to a halt, signaling your return to gojo's palace. “goodnight, prince gojo,” you say, a hint of defiance in your tone as the guards open the door for you to exit. you stride towards the entrance, determined to maintain your distance despite his confession.

⨯. ⁺ ✦ ⊹ . *

you stare at the ceiling as morning rises, you haven’t gotten the best sleep due to everything that occurred the night before. you wish everything was a nightmare and you’d wake up in nanami’s arms.

but the unresolved chemistry between him and ayana hangs heavy.

you groan loudly, reliving the events of last night when you caught nanami and ayana in the garden. “i need to get out of this place,” you mutter to yourself.

rising from your bed, you head towards the bathroom adjacent to your bed. just as you reach for the door handle, it swings open, revealing gojo.

he’s wrapped in a towel snug around his waist, casually holding the ends of a linen cloth around his neck, water droplets all over his toned body as a smirk playing on his lips as he meets your gaze.

shamelessly you let your eyes roam over his beautifully sculpted figure, his larger frame casting a powerful presence. your gaze settles on his chest, where a lotus flower tattoo adorns his left pectoral. 

your eyes began to lower to his abs prominent as he’s been working out a lot. unconsciously your eyes roam lower and lower, staring at his-

his voice breaks through your thoughts, “careful now.” how long have i been staring? “if you want it, all you have to do is ask,” he purrs, his words tempting.

“when did you get in my room,” you retort, avoiding his tempting offer. 

“right after you fell asleep,” he answers, turning to check himself out in the mirror. “you kept holding onto me all night. you talk in your sleep,” he teases, as your jaw drops of how embarrassing it is.

“‘t-toruu, harder mmh~“ 

your mortification peaks as he mocks your sleep talk. you slap his arm to silence him, but he only laughs.

“nothing to be ashamed of, I can give it to you hard mm?” he taunts, but before you can react, he leans down and kisses you. hard. it’s almost a natural thing between you two.

his hands trail down, gripping your waist as he guides you backward towards the bed. breaking the kiss, he softly pushes you onto the mattress, where you find yourself admiring how good he looks hovering over you. maybe this mattress is really good…

the bed dips as he crawls closer, spreading your legs to accommodate him, maintaining eye contact as he moves. impatient, you reach for the back of his neck, pulling him closer, messily making out with him.

your mind goes dizzy as he begins to kiss you lower, going from your neck to your breasts. switching from one breast to another as he massages them through your night gown. you moan his name loudly, not caring how loud you are.

he grins as he sees your face contort in a needy expression. gojo continues to showers you in kisses. he stops below your stomach as one of his hands bunches up your silk night gown to reveal your pussy, bare.

“mmh, were you expecting me?,” gojo murmurs as he teasingly brings his fingers to your slit, feeling how drenched you are. your arousal glistening as your clit twitches, needing any form of stimulation. you’re squirming as he teases you, not wanting to give you the satisfaction you desire.

“I want it ‘toru, wan’ you,” you say breathily, bucking your hips to feel more. he chuckles at your neediness, intrigued by this side he’s never seen before. 

lowering his head, he draws very close to your heat, teasing you mercilessly. tears well up in your eyes from the intensity of his teasing. 

you realize he’s getting off on teasing you, he loves the way your body reacts to him, this fucker.

“f-fuck you,�� you manage to gasp out but he ignores your protest, as he focuses on kissing the sensitive skin on your thighs, sending waves of frustration through you.

“such a dirty mouth,” he purrs, finally nibbling at your clit, eliciting a gasp of pleasure from you. he grins, loving the effect he has on you, and spits flat against your intense heat, watching as the glob of saliva dribbles down, down, down to your entrance. oh how messy he loved to be.

gojo restrains himself. holding himself back from going absolute feral, just the sounds of your soft pleads and moans gets him insanely hard. fuck, he thinks.

“how bad do you want me-”

“are you fucking kidding me?” the interruption freezes both of you. your heart sinks as you turn to see ayana standing in the doorway of your room. you try to push gojo away discreetly, but he refuses to budge, unfazed by her presence. he cannot be serious..

he pays no attention to ayana as he dives in, devouring you with desperation, causing you to moan loudly, your embarrassment mounting as she observes. the silence is beyond awkward, it gets worse as the loud squelches from your pussy is all that is heard.

gojo could honestly care less ayana’s watching as he eats you out like a hungry man, devouring your pussy as his tongue laps up your arousal, alternating between his tongue and long fingers. you moan so loud your back arches against the bed as you feel so ashamed that she’s still watching. 

“so fuckin’ wet,” he notes, muffled against you, as he lifts his head to look at the mess. unexpectedly he slaps your pussy, bullying your poor cunt as you almost cum then and there. gojo goes back to eating you, as if you’re all he needs.

struggling to muffle your sounds, you try to cover your mouth, but gojo stops to look up at you. sensing that ayana still hasn’t left. his pussydrunk expression makes your pussy throb once more. he turns his head to look at ayana in annoyance.

“can’t you see we’re busy?” he says coldly, while you finally catch your breath, avoiding ayana’s gaze.

“t-the royal authorities are expecting you two in the ch-chamber,”  ayana stammers nervously as gojo shamelessly brings his fingers to his mouth, moaning softly at your taste. 

is this from last nights scandal?

gojo rolls his eyes, turning back to you. “we’ll be there,” he dismisses her, his lack of concern evident.

“all your families are waiting,” she adds before slamming the door, her anger noticeable in the forceful slam.

“‘toru we need to g-go” you urge as he clearly doesn’t care as he leans closer to you, kissing your sensitive spot on your neck.

“ugh- whatever, I’ll see you downstairs,” he whines and pouts, not wanting to leave you. you swear you see him tear up.

“you need to get out before they get even more upset,” you scold, and as he finally rises from the bed, you notice the damp spot, cringing at the sight. before he leaves, he plants a quick peck on your lips, smiling softly before exiting.

what have we done…

⨯. ⁺ ✦ ⊹ . *

after quickly freshening up, looking far more presentable than when tangled in bed with gojo, you enter the chamber connected to the large gojo estate.

inside, the room buzzes with activity—royal guards, authorities, your parents, nanami’s family, the king and queen. across from them seats nanami, ayana, and gojo opposite them, facing the stern authorities. fuck.

all eyes turn to you as you enter, the last to arrive for this crucial meeting. you take the empty spot on the couch between nanami and gojo, with ayana seated on the other side of gojo—how convenient.

“we’ve all come to an agreement. the authorities are giving you a choice,” the king announces, his displeasure evident.

“we’ll proceed with gojo and ayana’s immediate marriage,” the queen declares, prompting gojo’s visible anger and ayana’s concealed satisfaction. the queen then turns her gaze towards you as she continues, “you will move to the countryside and cut off all contact with nanami’s and my own family.”

your heart sinks at the queen’s harsh decision, feeling betrayed and treated unfairly. gojo stands up, angrily protesting.

“if that choice does not satisfy you,” the king intervenes, silencing gojo with a commanding look as he sits back down, his rage radiating. “you will be married off to one of my distant relatives overseas, leaving prince gojo, prince nanami, and duchess ayana here to restore their reputations in society. either way, our families will be connected to the haras.”

tears well up in your eyes as you turn to your parents, their pained expressions crushing your heart.

“don’t i get a say in this? as future king, shouldn’t i have some input?” nanami interjects, surprising you with his defense when you thought he was angry at you. “it’s unfair that my ‘almost’ wife is bearing all of the punishment.”

“you’re not king yet. your path to the throne required marriage. it seems you’ve forfeited that chance, prince nanami,” the queen retorts, pointing towards you.

“send me away, strip me of my title, just please spare her. it was all my doing,” gojo pleads with his parents and the authorities, willing to shoulder all the blame and punishment on your behalf.

“and tarnish our reputation further? ‘toru, dear—”

“i think sending her away would be the best solution for everyone,” ayana interjects, her words landing like a dagger, intensifying your anger.

“ever since she arrived, it’s been nothing but whoring herself to these two, especially ruru!” ayana continues, seeking pity from the room.

“it’s infuriating how he ‘mistakenly’ moans her name during sex…” ayana exposes gojo’s accident, shocking the entire room. you turn to look at gojo, watching his cheeks flush with embarrassment as the king scolds ayana for her untimely disclosure.

“you have three days to make your decision. until then, you are all dismissed,” the king concludes, ending the tense meeting with an ultimatum that leaves you feeling more lost and burdened than ever.

[sairenharia]

Why Chloe Deserved A Miraculous

Its a thought that's been stewing in my head and the more I thought about it, the more I realized it was true. Chloe was entitled to a Miraculous.

From a Doylist Perspective.

When there is conversations of if Chloe was entitled to a Miraculous is always presented from a Watsonian perspective. For those who don't know, Watsonian means the perspective of someone inside the story. A character. Doylist is the perspective of those in the real world. The author and audience.

The problem I see from fandom discourse is how often people don't actually consider the tools in a story. Often they take a Watsonian perspective, talk about what is right and sensible and should be how things work if this was a real situation. But the thing about stories is they have messages. They have tools and metaphors and themes to help display these messages. Sure, shows are about entertainment, but a story always has some kind of point. It may not be a moral lesson, it may not be some grand philosophy, but any story worth telling says SOMETHING. It takes a stance. The Fast and the Furious is all about doing cool stunts with cars, but it also has a message of doing things for family because if you just want to see cool car stunts, just go watch cool car stunts, but no, people want at least a little humanity in the car stunts, so there is a message of family. Sharing is caring, do your best, the heat death of the universe comes for us all, the messages can be vast, but there's some point of emotional reality to invest us in this specific media.

If we talk about Chloe and the Miraculous from a Watsonian perspective, no, she is not entitled to a Miraculous. No one is entitled to an object of power. Not even Marinette nor Adrien are entitled to their Miraculous.

But superpowers aren't real. Superpowers have always been a tool to emphasize a point. The stories of superman only focused on his powers are boring, but when you tell stories of how he tries to fit into a world that is not made for him, stories of how much he loves this world despite how easy it could be to be cruel, it gets interesting. The reason superhero comics started is there was a want to show that there can be incredibly powerful people who choose to be good. To choose to make the world a better place.

Superpowers made just to be cool and show off are boring. There is only so much you can watch a fight with a cool power before it gets dull and repetitive. But you relate the powers, the struggles of using the powers, to the person wielding them, the story has a lot more staying power. The powers say something about the person, and is part of their development.

And honestly, Miraculous is a good case for why this is important.

Because good god, most of the superhero team is boring.

And I don't just mean because they're good people, so there's no spice, though that's also true, but because the powers aren't really used to emphasize anything about the character. Max has portals. Why? His mom wants to be an astronaut, but we never really hear about Max wanting to travel. Doorman is a better example of a portal hero because he loves going to other places and learning about them.

Now portals are good for a tactician....except Max is never the tactician despite the fact we know he's brilliant and is good at video games. He just does as he's told by Ladybug for where he should put his portals. Its so close, but its not utilized.

And that is the case for most of the superheroes. Like the bones are there, but nothing is properly utilized. Sabrina is definitely a dog, good at getting things, and is in fact well practiced in recognizing what things may or may not be important. But we've never actually gotten to focus on her BEING a superhero, she only had a small cameo with the power, basically. Same with Ivan, really. They're pretty perfect for their powers and it suits their personalities, but none of it is EXPLORED. And that's the case with most of the heroes.

Juleka and Rose were pretty good at using the Miraculous to develop more of someone's character and emphasize a strength about another in turn. These are good hero episodes because we learned more about them and their journey.

Kagami's first episode with the dragon showed off more of her, such as she could be reckless, which is new information, but we learn a lot about her without it, and nothing new beyond that.

Luka could have actually been incredibly good because the snake both emphasizes a big part of him, and something he needs to work on. Luka is someone who steps back and watches. He observes. However, he has a problem where he often is too willing to step back. But with the snake needs someone who can observe AND act. So its a Miraculous that uses an important part of his personality, but could have also helped him grow.

And the rest are just...nothing.

There is a little for Nino and Alya. Nino is definitely more bold about defending his friends than he was at first, and Alya learns to be better about secrets, but these are the primary secondary heroes. We should have seen a ton of impact and development due to them having the Miraculous.

Here is the stance Miraculous should be taking in their story.

The desperation of those trapped and the power of being given good options.

Most of the Akumas are people who are trapped. They feel powerless. They are desperate to escape their problem and feel like they have no proper recourse with things are they are. How accurate this is varies, but this is how they feel in the moment, and that is what Gabriel preys on. These people agree to the deal because they don't feel like they will be helped any other way.

Ladybug and Chat Noir are meant to bring hope to those who felt hopeless and chose a terrible way to try and escape. They are support. They are a hand people desperately need.

So by that same token, the Miraculous should be a good way for people who feel trapped to be given an option, OR give those people the ability to extend their own hands to help others.

While it doesn't have to every time, it should often be the case those who are given a Miraculous; A, dealing with a huge problem and the Miraculous helps them solve that problem, regardless to the Akuma being related. Like if Juleka was working on trying to speak up even if the Akuma wasn't her parents and the Tiger still helped her do that. B, they are related to the Akuma and why they feel trapped, so they are working through their own issues with the important person. Like Rose when Juleka felt guilty. Or C, the person wants to find a way to help in general and kind of go how it went with Nino becoming Carapace. Where they were trying to be that hand a person needed, and earn the Miraculous, and that helps them on their journey to provide more support and help.

But its often it is someone they know, but them being the hero doesn't REALLY matter. Penalteam, the people were just there, these specific people didn't matter. Why did Zoe need to be Vesperia? Anyone could have taunted Chloe and she got turned into a banana real fast, her being the Bee didn't really bring a lot, to the bee, to her, or even to Chloe, and then she proceeded to just not bring much as the Bee, to the story, or herself.

Now part of this problem is that Marinette is not allowed to not learn a lesson, and has to be the one to save the day. These heroes do have skills. They have things they could be good at. But often....the plan is just what Marinette says. These heroes are not allowed to have agency.

They can't make decisions on their own.

Often times, they're just bodies being told to do the power without the ability to make the decision how and when. Sometimes they let the heroes do things and make decisions, but nine times out of ten, its Marinette who says who does what and when and her mental health is degrading because of it.

The Akumas are stories that always at least tell us something about the person because we see what problems hit them hard. There is something to learn, a bit of conflict to develop from.

The Miraculous should be following that trend, but in a positive way, but...doesn't.

All that being said.

Chloe was entitled to the Miraculous.

Because here is the stance Miraculous takes.

Someone is trapped in a situation and chooses to lash out violently and while that violence can not be permitted to continue, the heroes offer their support so the victim can feel like they have another option.

This is the story of Miraculous crystalized. People who feel alone and helpless are easily convinced to hurt others until someone is willing to help them despite this harm.

Chloe is the story of Miraculous.

Akumas are a metaphor.

And Chloe is the reality.

A child who is alone. Who feels trapped in her situation. Who doesn't know what else to do. So she does the only thing she knows how. She lashes out. She hurts people. She keeps them distant because then it doesn't hurt as much when they leave, or when they treat her like dirt.

Chloe is an Akuma personified, but her problems are brief moments. They're not a bad day that someone took advantage of. They are ever present and continuous and more over, reinforced to continue.

Chloe knows being a brat gets her what she wants from her father and was never taught to not be like that. Because he didn't discipline her, because her mother acted like that, because all adults around her was staff. Making demands is what she was TAUGHT and learned, through observation and guidance.

A behavior she continued to do with kids, and she found out teachers responded to the same threats and was never properly stopped. Other kids, reasonably, didn't want to deal with her, or submitted to her like Sabrina.

Chloe was not never taught how to be good. She was, in fact, very much taught to NOT be good. Her parents both set a terrible example. Her father is a corrupt politician. He may spoil her, but he we know he bribes and blackmails people, plus, you know, abandoned his daughter and technically kidnapped Zoe. This is not a paragon of a man. Then there was her mother. But she had a choice, listen to the man who had to weasel and cheat and play back handed games to get what he wanted, or the woman who got anything and everything she wanted...of course she would try to be the woman who seemed to get everything her way.

Because if her mother got everything she wanted, if Chloe was like her, maybe she could get everything SHE wanted.

Except it wasn't working.

But Chloe wasn't taught it was because she was cruel. She just started to believe she wasn't GOOD ENOUGH.

Maybe if she was as great as her mother, it would work.

By the time she would be old enough to recognize that wasn't how the world worked...well, by then, most of her peers hated her.

And here is something I think goes under the radar about Zoe.

Zoe knows how to act like Chloe. Audrey didn't blink at it. Zoe defaulted to the same behavior as Chloe. Zoe said she put on an act and she was tired of it.

Zoe WAS CHLOE.

And we know what happened with Zoe. Zoe stopped acting like Chloe. And then she got bullied. People were mean and cruel and put cockroaches in her locker and she only had one friend.

I'm sure that's why Zoe moved to Paris. Zoe went to her mom because she wanted a clean slate. She wanted the bullying to stop.

Even then, she struggled to stop. She defaulted to her habit, and we see that she CONTINUED the act around the hotel for some weeks after, because it was a hard habit to break.

But then...

Zoe got support. A hand was held out to her. Marinette gave her a chance, and so did everyone else, and Zoe took it because she wanted to be herself and she wanted to stop being cruel. Of course she's nice. She was given the space to be so.

Chloe is never given that support.

Chloe doesn't know how to be kind. She doesn't know how to be nice.

But the greatest tragedy is Chloe does know how to be GOOD.

Out of all the heroes, besides Chat, to a lesser degree Alya, and Alix and Luka by nature of their Miraculous, Chloe shows the most agency as a superhero. All the other heroes have their hands held by Ladybug. She tells them what to do, to an overly specific degree, and they are just bodies to use a tool. Chloe? Chloe acts on her own. To good and bad effect. Discounting the whole Queen Wasp break down, just when Chloe is actually acting as a superhero, she doesn't wait for Ladybug to tell her everything all the time. She calls out to her father, which was a mistake, but then there is every other time she's Queen Bee...

And she's fantastic at it.

Miraculer, she almost had Mayura's Miraculous.

Star Train, she gets people away from the Akuma.

In Bakerix, she's the last the to leave the train car.

In Ladybug, she's defending Sabrina.

In Style Queen, played Style Queen in an effort to find a way to save Adrien.

In Heroes Day, she is a great teammate. Keep in mind, everyone on the team knows who Chloe is. Ladybug was desperate and doesn't fully trust Chloe as a general rule. Rena Rouge and Carapace definitely don't trust her at all. Chat Noir is the only one who believes in Chloe as a person.

And yet, throughout the entire fight, Chloe is keeping up and picking up the slack with everyone else. She fights, she keeps civilians from being hurt, her synergy is on fire despite the lack of trust. When Rena Rouge and Carapace go down, she is quick to try and protect them and even after two EXTREMELY dangerous Akuma show up by way of her parents, who are both gunning for her real hard, she holds her own for a while and even then, she had to be mind controlled to stop and to feel negative emotions. It took FOUR AKUMAS gunning for her specifically to corrupt her, akums who are made to mess her up mentally to boot. When they confront Gabriel at the end, she prepares venom without being asked, to have a back up for taking him down. She makes decisions and when she was trusted to act as a hero, they are largely good ones.

And she never once complained about the mental hardship of what she went through. Because that's the thing, all her times as Queen Bee are super intense. They are her loved ones she's fighting, they are incredibly powerful Akumas. She fought a frickin' army.

And everyone...

Just insults her.

She risked her life for people and no one cared.

She fought her family and no one cared.

Chloe doesn't know how to be nice. Nor kind. But she was so good. And while the next day, people appreciated her, it was only a day.

And the tragedy is Chloe didn't immediately go back to being a bully. After Despair Bear, Chloe's bullying habits took an extreme nose dive. We only see her being unreasonably cruel a few times. After Maledikator, the only time is when she bullies Aurore and when she teamed up with Marinette, but also Marinette was with her and they were both doing it for fear of losing Adrien reasons. Not reasonable, but also not just to be cruel and honestly, her plan was fairly benign. She wanted Kagami to leave, not even humiliate her. And even Aurore is because Chloe was reaching the point she did in Miraculer where she was doubting Ladybug's trust in her and as she is want to do, she lashed out.

Most of the time when we see Chloe, what we see is her bragging about being Queen Bee. Which, sure, isn't a great thing...

But better a braggart than a bully. And when things go wrong, she tries to use her status to help reassure and guide people, which is actually a pretty good idea. Akumas are attracted to negative emotions. If she can reassure them, then less likely of them getting akumatized. It may be bragging, but it could help.

Chloe may not have been picture perfect nice, but we literally have an entire classroom full of perfectly nice people. She may not be humble, but bragging is not a damnable offense. But Chloe was legitimately trying to be a better person. She put herself in between others and danger. She had faith and belief that there were solutions. Even without the Miraculous, she tried to help people.

She may have wanted appreciate and gratitude for it, but what's even sadder is she didn't require it.

Chloe believed in Ladybug for a long time. She believed Ladybug would trust her again. She believed she could be given a Miraculous again, and all on her own, ALL ON HER OWN, she was trying to be a better person.

Its actually amazing how good Chloe was being despite the fact no one was helping her.

Because that is the thing.

Zoe got support and help.

Chloe didn't.

Every. Single. Time. Chloe tried to do something different, something not cruel, she is rejected. She tries to join the art club and she's mocked out of it. She tries to be class representative, a job no one else wanted for years, and she loses it as soon as someone did challenge her. She auditions, legitimately, for a music video, with eight years of practice, and she loses it because she isn't nice enough.

She stops bullying, tries to be a reassuring presence, and she is treated with suspicion and derision.

And still.

And STILL.

That isn't what breaks her.

What breaks her is the realization the only time where her efforts were appreciated was taken away. And even then, she holds onto the pieces. Holds onto hope that maybe she would be given a new chance.

Her parents are in danger. The reason she was given she couldn't be a hero is because she and her loved ones would be in danger.

Except her loved ones were in danger.

She was in danger.

Not having a Miraculous didn't change anything. It didn't keep them safe, it didn't keep her safe.

And its only then, after months of no one believing in her for more than two days, of no one holding out their hand, helping her, supporting her, believing her, with the one person she thought DID believe in her proved that she didn't believe in her, and couldn't even give her the safety that not having a Miraculous was supposed to bring.

For months, Chloe only thought Ladybug believed she could be good.

Adrien wanted her to be less cruel, but Chloe knew her being good wasn't necessary for him.

Nor was it for Sabrina.

But Ladybug?

Ladybug needed her to be good to believe in her, and she thought Ladybug did.

Chloe was able to largely bite back her desires to lash out at people based purely on the fact one person, ONE SINGULAR PERSON, needed her to be good, and believed in her ability to be so. It got her derision. It got her suspicion. It got people comparing her to villains. It got her dismissal. But she still tried. She still believed.

A person who didn't really believe in Chloe very much.

And there is also the Watsonian argument that Marinette doesn't owe it to Chloe to help her improve AND THIS IS INCREDIBLY VALID and honestly, in a perfect world, it would be great if it was Adrien who helped Chloe improve.

Or you know, Zoe. Someone who has a clean slate with Chloe and understands where she's coming from and could help her.

But no, this is the Marinette Has To Solve Everything Show.

So from a Doylist view, it IS Marinette who has to help Chloe, but also the Watsonian problem could be helped if it was CLEARLY ESTABLISHED that Marinette knows she doesn't HAVE to help Chloe, and people aren't pressuring her to do so (coughBustiercough) because that is a bad message...

But Marinette can CHOOSE to help her and make that clear.

Because Marinette has seen a lot of Chloe and could understand that she really does just need a little more help. That Chloe needed just a bit more support and help. And, you know, didn't actively encourage Chloe to please her abuser.

But we're going from the Doylist view and we can solve the Marinette being the one to help Chloe problem by not having it be Marinette, but LADYBUG.

And this?

This is why I say Chloe was entitled to a Miraculous.

Because Chloe is the reality of the stance of the show, and so helping her problem with the metaphors would go a long way.

You see, Chloe doesn't know Ladybug is Marinette. And Marinette knows being Ladybug means being the bigger person. Ladybug believes in people. Ladybug helps everyone she can. Its not about the victim helping their bully, its the superhero choosing to help someone who NEEDS HELP.

Chloe is stuck in her situation. Her mother will always be emotionally abusive. Her father will always be an enabler. She can try to change, but no one will BELIEVE in her change. She will be derided and mocked and treated poorly because no one is willing to give her the chance to grow, and they certainly won't help.

Frankly, its a miracle that Chloe's Akumas are so merciful.

Because Banana Queen is the most destructive of Chloe's Akuma forms. Most of Chloe's Akuma forms don't care about HURTING people. They care about WINNING. She either wants to win or for people to just listen to her.

But give Chloe the Bee Miraculous, and suddenly things change.

Chloe feels like she has OPTIONS as Queen Bee. She doesn't feel she has to meet her mother's expectations as much if she's Queen Bee. She has people who trust and depend on her. At least right after she saves people, she gets a little praise, a little belief.

And people may say being a hero for glory and attention is a bad thing, but the thing is, Chloe's need for glory and attention is about being ACKNOWLEDGED. As feeling like people value and care about her. This is a BASIC HUMAN NEED and she doesn't know another way to get it. Its not like she's demanding physical things for her heroics.

She just wants to be appreciated.

By giving Chloe a Miraculous, she is given the tools to try and be good. She is given an escape from her situation. She is given SUPPORT in her efforts because the other heroes have to support her.

And over time...

That trust will grow.

Because what Chloe doesn't know, all her classmates are the other heroes.

And suddenly, all her classmates will see her as a different person. They will see what she's like when the chips are down. How much effort she's willing to put in. How seriously she takes the job.

Is she still a braggart? Sure. Is she still rude as hell? Absolutely.

But she will risk it all to help people, without asking for anything in return except a little faith.

Chloe is entitled to a Miraculous.

Because her story without a Miraculous is a story of a little girl who no one wanted to help, who were unwilling to offer her help because she lashed out while trying to survive a situation she couldn't escape, and because it wasn't super charged by a terrorist, she was deemed unworthy of it and instead deserving of isolation and constant emotional abuse.

But with a Miraculous?

Chloe is a girl who, when given a little faith, a little trust, a little help, returned it tenfold. Who puts her all in trying to be the best hero she could be. Is she imperfect? Sure. But she's giving it her all. (And frankly, she's spicy and it makes for entertaining character dynamics. You can have a character be a jerk and good, tsunderes are popular for a reason.) And as she gets more trust, as she gets more help, as she is offered that hand of help over and over again, she would continue to improve.

And as she's given power, she uses that same faith to figure out how to offer her hand to others. To help them. To spare them the same pain she suffered.

Because that is what given to the Akuma victims. They are given a little help, and a little power to break free of their magically abusive mindsets.

To have someone go from the continuing the cycle of abuse to someone who would save other people from that?

That is a real superhero story.

Chloe is undeserving from a Watsonian perspective.

But she's so very deserving from a Doylist perspective.

[helluvathings]

It's interesting that the episode description straight up warned for Stolas lacking self-awareness. It's more or less a confirmation that Stolas and his character arc aren't finished, and between that and the content of the last couple episodes, I ended up going back through the series and looking at the path he's taken so far. Warning now, there's a lot of 'deconstructing' Stolas at first, but I do think he's on a positive trajectory and the set up serves as foundation for future character development.

Anyway for anyone interested in a from-the-beginning rundown of Stolas's arc, full post is below.

From his first conversation with Blitzø, you have Stolas in his bath making the favors for favors offer, while Blitzø is working and in a life-or-death situation. The language Stolas is using is too formal; it causes communication issues, and Blitzø has to tell him to stop using "rich person talk." The scene that sets up their whole dynamic is 1. Stolas establishing the transaction (given he could've straight up punished Blitzø for stealing or just taken back the book, this isn't bad; it just is), 2. Stolas at leisure while Blitzø's job has him in danger, and 3. the class/education difference resulting in Blitzø having difficulty understanding what Stolas is saying.

Move forward to Loo Loo Land. The language Stolas uses with Blitzø gets a lot of attention already, as does Stolas's rather poor grasp of social cues/difficulty seeing outside his own perspective causing him to clash with Octavia. One point I don't see raised as often is that Stolas hiring Blitzø to spend time together, when he doesn't need a bodyguard, and then sexualizing Blitzø while he does his job, is both condescending, and doesn't show much respect for what Blitzø actually does. He pays him more or less to put on a show, so Stolas can indulge a fantasy of them having a relationship (not because he's evil, because he doesn't know better).

Then you've got Stolas in the newest episode, getting annoyed with Blitzø for saying he thought Stolas couldn't be hurt because he was immortal. That if I.M.P. could handle Striker, Stolas surely could. Stolas's sarcastic, "It's not an imp's place to protect a Goetia, is it?" comes across different when considering Stolas literally once hired them as mock bodyguards. It just... escapes him, why Blitzø would think the idea of Stolas needing their help is outrageous. Never mind how clear Stolas's rescue in Truthseekers made their power disparity. Stolas often has trouble putting himself in other people's shoes, and it shows here.

The Harvest Moon Festival brings in Striker, who's basically a "class problems" mouthpiece, exaggerated for emphasis. He even remarks directly on how Stolas's treatment of Blitzø can look from the outside. There's also the episode's opening bedroom scene, where Stolas's idea of flirty talk is copious use of microaggressions, plus the later scene with Blitzø snapping about Stolas not using his proper name. It's likely not an accident that these things happen the same episode Striker appears.

Truthseekers has "impish little plaything," with honorable mention to Stolas pinching Blitzø's cheek and scolding I.M.P. like children. But it also has Blitzø's vision all but screaming how Stolas makes him feel. On the one hand, it's Stolas who brings him back to himself. He washes away the muck. He's something beautiful amidst the ugliness. But he's on a pedestal, he has Blitzø in chains. He has shadow Blitzøs fanning him like servants, and Blitzø stumbles away from him blind and mute, smothered by feathers.

Ozzie's is actually good for Stolas's development, because he gets his first reality check when Blitzø makes it clear he thinks Stolas only wants sex. (It also shows how Stolas feels about Blitzø behind the bad erotic-novel scripts he's been using, which is the first time the audience sees this outright). After that, Stolas realizes his relationship with Blitzø was problematic. He sees the transaction and gets rid of it, and he senses something off with his behavior that has him start calling Blitzø by name and stopping with the 'plaything' type remarks.

But the past two episodes have made it evident he'd made those realizations in a vacuum. His broader class awareness is basically nonexistent, and when Blitzø tries raising the issue, he groups Blitzø with Striker by default, as if any criticism of his status/wealth/privilege is unreliable and antagonistic toward him specifically. He refuses to sincerely consider that Blitzø isn't merely judging him, and that he might be saying something with legitimate basis.

The Circus is especially interesting. Aside from the commentary underlying the 'buying Blitzø' plot, the episode shows Stolas getting scolded by Paimon like a dog for showing respect to an imp; that likely wouldn't have been an isolated incident. It's played somewhat for humor ("I'm so good at daddying"), but it also shows why he'd have so much trouble with things like microaggressions. He has literally been trained to hold himself above others. And just going off the way Stolas is framed at Stella's party, isolated and alone, being laughed at by Stella and her friends, I suspect Stolas may see himself as a "good rich person," because he doesn't seem to fit well with the Goetia either; he's laughed at and bullied, he lacks privilege in his own ways. He identifies more with other demons than his own class--and it blinds him, I think, to the fact that he is still part of his class, and isn't immune to the problems that come with that.

Even in Seeing Stars, there's the moment with Stolas all but strangling that poor butler and hardly seeming to notice. In an episode that's almost entirely focused on father-daughter relationships, that still gets tossed in. Regarding the Octavia plot, Stolas lacking self-awareness comes up again; it's understandable that he's distracted with the divorce, and we do see him try to resolve the issue, but it feels like a quiet alarm indicating hey, you might have a recurring problem where your daughter is concerned.

Western Energy is another 'Striker shouting that class issues matter in this show' moment. While I think Stolas going the 'well, you're part of the system, so you can't complain' route when Striker tries bringing it up is loosely relevant, I also don't blame him for that one. Poor guy is being tortured, he deserves some slack. Oops, in my opinion, shows Stolas at his best; he's just been turned down by Ozzie, but he still sticks around and helps. We even see how sincerely happy he is when Fizz returns. It's a good example of how decent Stolas can be beneath it all, as well as his sense of romance appearing in a healthier way.

Then come Full Moon and Apology Tour, where most of the Stolas subtext gets screamed and/or bitterly snapped in his face by Blitzø. It's stated directly by the main character that those things matter, in a way that imo portrays Blitzø as at least partially sympathetic. And of course the Apology Tour episode description, yelling it for the folks in back.

What all this is trying to say is: 90% of Stolas's time on screen has set him up to have a 'getting more self aware' arc. I see a lot of accusations of the show babying Stolas, but I think it's more that it hasn't gotten around to doing what it wants with Stolas. There are 4 seasons. We're in the second. We've had Stolas's post-Ozzie's revelation, and now he's getting a lot more "you're part of the problem" feedback thrown his way. It's implied Octavia is going to contribute to that as well.

Anyway!! My personal guess so far is that if the "loses his powers and/or titles" theory that's been going around has any merit, that's going to instigate the start of actual, substantial change. Will that actually happen? No idea. But Stolas's flaws have been as articulated and developed as Blitzø's, and at this point, if the consequences aren't explored in the same way, it'll be dropping a ball that's already well in the air. I also think this isn't going to be a "fixed by the end of season 2" thing. Stolas problably won't appear again until Mastermind, and then there's just Sinsmas. There isn't time for him to change in two episodes. There is, however, time for him to have some big realizations, and for the change to happen next season.

[artbyblastweave]

ask game; Victoria Dallon, aka Glory Girl aka Antares

I've always thought that Victoria's first appearance is quite the bit of deft needle-threading.

The thing about Interlude 2 is that Vicky is our first example of one of this setting's established heroes actively fighting crime- not just swooping in to vulture up the accomplishments of an up-and-comer- and a therefore a major goal of the sequence is to ensure that the audience comes away structurally unnerved by what counts as business as usual for the heroes, set the stage for the hurricane of ass-covering to come. So we have a sequence where she lords her power over a baseline criminal who has no realistic chance to fight back or get away, where she cripples and nearly kills him in a display of excessive force, where she uses her connections to other capes to duck out on the consequences of her excess once she realizes that she's crossed certain moral and optical Rubicons. All of this is gross, all of this speaks to an alarmingly cavalier attitude amongst even the most ostensibly accountable heroes. And from a protagonistic perspective, all of this serves to soften the blow of Taylor's actions at the bank in act three, because we're predisposed to see Vicky as an arrogant, overprivileged loose cannon who'd actually have a significantly higher body count than all of the Undersiders put together if not for the cushion afforded to her by her status as a superhero. A golden child up against the already put-upon underdog.

But. She also does all of that to a Neo-Nazi, who was fresh off committing a hate crime. I mean, if this was violence against a purse-snatcher, a drug-dealer- It would be very, very easy to block this sequence in a way that would set her up as a villain and nothing else for the rest of the work. In The Boys, for example, Homelander debuts by incinerating one bank robber's hand and throwing another a thousand feet into the air to land hard on a parked car, and the dissonance between that casual brutality and his chumminess with the onlookers is the thematic backbone for... basically the entire show, because he was in such total control of the situation that the only reason to do it that way is that he fundamentally doesn't care. In Super Crooks, it's made abundantly clear that the superheroes trying to arrest the titular supervillains are significantly more destructive to the city than the villains are, because their institutional backing removes any incentive to do anything but pursue the flashiest arrests possible for the sake of ratings. But Glory Girl? She's a sixteen year old putting her money where her mouth is on the unconsidered-dilettante suburban-left-ish tumblrite rallying cry of punching a Nazi. She's living out a near-boilerplate superheroic fantasy of righteous violence against an uncomplicatedly righteous target- likely a fantasy entertained at least once by the median cape fan, if we're being honest- and then, in the aftermath, blood on her hands and on the pavement, staring down the full weight of the prospect of actually having killed a person in an unconsidered spate of rage, is very much a panicked teenager about it, scrambling for a way to walk it back.

Which, independent of the specifics of whether this particular asshole had it coming, is the problematic element of this that generalizes- that superheroism in this world is a system that puts the social license to use concrete-shattering power in the hands of a kid with the judgement and attitude of someone scheming up ways to dodge curfew. She's done this before, she's gonna keep doing this, she's gonna keep being two-faced about it with her public-facing golden-girl image. But she wasn't wrong to be angry. And the fact that this is the kind of thing she gets angry about is hard to separate from later beats where she tries to do right by people, hard to separate from her willingness to put herself on the line against Endbringers and the Slaughterhouse 9. It's a bad situation, a horrible system that's guaranteed to incentivize bad behavior, they shouldn't be assigning any of this shit to a 17-year-old. But later on, when things go south for her, the seeds are planted so that she can retain audience sympathy in a way that she likely wouldn't be able to if this story was a banal hatswap, with unfairly maligned "villains" who do no real wrong against supervillains who happen to call themselves superheroes.

[yan-lorkai]

Hi!! I loved your hcs of the Octotrio with a yuu that seems to only have a talent in art. I related to it a lot because sometimes I feel like I’m not good at anything else other than drawing.

I was wondering if you could do the same prompt with Riddle, Ace, Deuce, Cater, Leona, Malleus & the Scarabia boys please? If that’s too many you can just do Leona, Malleus, & Scarabia. Thank you 😊

.⁠｡⁠*⁠♡ A/N: I guess everyone has one of those episodes, huh? I've been writing for more than 8 years now and sometimes I get hit by the "aa but I'm only good at writing, I should totally try something" and then I try something new and hate it bcs I really love to write and nothing can compare lmao. Anyway, I hope you like this darling, I did all the characters requested too btw ~

.⁠｡⁠*⁠♡ Ace would be playful and encouraging, but his competitive nature would lead him to manipulate situations to keep you close. He’d play little tricks to make sure you stay dependent on him, offering "helpful" critiques that subtly undermine your confidence in anything but your art. His lighthearted facade would hide a deeper need to be the center of your attention, he is your muse, the one you use to practice, the who inspires you, making sure that you see him as the only one who truly understands and supports you, all while ensuring you don't realize how he’s subtly sabotaging any other talents you might want to try to explore, for he fears you will not want to spend more time with him anymore if that was the case.

.⁠｡⁠*⁠♡ Cater would use his social media prowess to make you art the talk of the school, ensuring your work — and by extension, his support — is always in the spotlight. However, his validation would come with a price, as he subtly isolates you from others, creating an environment where you feel your art is only appreciated by him and his curated audience. Cater’s charming persona would hide his darker intentions, as he manipulates your into believing that your worth is tied to the art you create under his influence, all while keeping you emotionally dependent on his constant praise. You're already good at other things, so surely you don't need to have another hobby, right?

.⁠｡⁠*⁠♡ Deuce, unlike Ace, would be fiercely protective of your artistic talent. He’d encourage your art with an almost desperate intensity, pushing you to try different brushes and pens, different scenarios and things, but he'd also pressure you to stay focused on what your good at, ensuring you don’t waste time on things you never tried before. His possessiveness would manifest in his need to be your protector, to the point where he'd become intimidating towards anyone who tries to steer you away from your art, that does not apply to yourself, while he think your drawings / paintings are very beautiful, he would not force you to make it more if you're having an episode where you doubt your skills and think you are good only on the art field. If you want to explore new things, Deuce will be by your side the entire time.

.⁠｡⁠*⁠♡ Riddle would be intensely supportive yet controlling, pushing you to perfect your craft while ensuring you don't stray too far from his strict rules, even more if you are already his lover. His obsession with your success would become borderline suffocating, as he constantly monitors your progress and enforces discipline to keep you on the right path, nurturing your already beautiful talent. To Riddle, your art is flawless, it's personal and have a touch of you in every drawing, be it digital or traditional. When you come to tell him about your doubts, about how you're only good at art, Riddle promptly sooth you with gentle words, albeit he is a little awkward while talking. He offer to teach you about whatever you want to learn but be prepared because he is somewhat a strict teacher.

.⁠｡⁠*⁠♡ Leona would admire your dedication to your art, and he would ask questions about it too, learning as much as your interest as possible. However, his possessiveness would be almost primal, keeping you close under the guise of protection, ensuring you don’t waste time on anything — or anyone — else. Leona would be dismissive of your attempts to explore other talents, reinforcing that your art is the only thing that matters. His control would be subtle yet overpowering, as he ensures your world revolves around him and your art, leaving you with little room for anything else.

.⁠｡⁠*⁠♡ Malleus would shower you with endless admiration, captivated by your artistic talent, even more if you were influenced by an artistic movement. He'll notice all the little details, the subtle way the traces converge, how the color scheme is perfect, the way the shadows and the light reflect. He is your number 1 fan, so supportive of you. However, his intense fascination would drag you into his lonely world, where your art becomes your only outlet and he is your audience - though he has your drawings framed and hung on the walls of the castles, so everyone can look at it and admire. Malleus may not understand your struggles and why would you want to pursue another hobby, but he can arrange anything you may want to try at least once, from singing and dancing to sewing and knitting, even the art of potion making, archery or fencing. He just know you're going to find something you like as much as your art, and if you are happy so is he.

.⁠｡⁠*⁠♡ Jamil would secretly nurture your talent, subtly guiding your creativity while undermining any attempts you make to excel elsewhere, he sees your art as something free and with many meanings - it makes him relaxed in some sort of way and Jamil wants to be a little greedy here, he wants you to continue creating more pieces, always keeping you under his watchful eye as you started drawing / painting. There's just something so intimate, so calming about it he can't wrap his head around. He loves watching you creating your art, feeling is guard lowering just a little. If you ever approach him with your doubts, Jamil take you to the kitchen so he can teach you a few things about cooking. It's a different kind of art but when all is said and done, it's just as good as when you're creating and make you feeling accomplished.

.⁠｡⁠*⁠♡ Kalim would be so overwhelmingly supportive and enthusiastic about it, showering you with gifts and opportunities to nurture your artistic talent, buying everything you may need to create your art, a new software? Sure, no problem, he brought the most expensive one too. A few new pencils and pens? Right away. You need more frames and paints? It will be here in a couple of hours. However, his naivety mixed with possessiveness would lead to unintentional control over your life, as he tries to keep you happy and close by his side. Kalim’s well-meaning gestures would create a gilded cage, where your art flourishes but your freedom is slowly stripped away. He would be oblivious to the suffocating effect of his love, believing that as long as you're happy creating art with him, nothing else matters, leaving you feeling trapped and not knowing how to communicate with him. He have done so much for you already!

[inbarfink]

I mean, I (and others) did predict Fionna coming to the realization that ‘Simon being Ice King again is very very bad actually’ via watching IK’s old tapes - in a thematic reversal of Holly Jolly Secrets…. You know, Finn learned to like Ice King more after learning about Simon Petrikov and who he used to be, Fionna learned to like Simon Petrikov more after really learning about Ice King and who he used to be. 

But the thing that really stuck with me about how the show pulled it off is how… tame that video was. Compared to what the audience knows about how terrible Ice King could get. 

Most of the video Fionna saw was Ice King goofing off, with just the last clip giving her a tiny little taste of how prone he was to fits of anger and extreme misery

She didn’t get to see the videos of Ice King crying for literal hours on end, she didn’t get to see him throw tantrums that make him a legitimate danger for those around him, I don’t think she actually knows he used to kidnap and stalk women on a regular basis - but that’s okay, because she didn’t need to. That tiny little taste of Ice King’s misery and pain was really all she actually needed.

Because it really speaks to how little she actually understood of the Ice King’s situation before. How much seeing that one little clip of him back in “Prismo the Wishmaster'' gave her such a totally wrong impression of what Ice King was like

that just seeing him yell at Gunter and cry once is enough to make her totally reexamine all of her preconceived notions about him.

And it really speaks how despite her sometimes-childish attitude, Fionna really possesses a lot of emotional intelligence. Both in how quickly she correctly gauged that Ice King’s behavior in the last clip was a regular thing for him and probably not even his worst moment and that his anger was yet another expression of his being 'super-sad'

And how clearly her Second Thoughts about the Crown Plan didn’t start when she saw Ice King yell - they started when she saw how despite working so hard on getting himself Cursed again, Simon still couldn’t bear the idea of watching videos of Ice King’s ‘Good Times’.

Because as much as it was important for Fionna to really know Ice King in order to fathom just how terrible the Crown Plan was, it was also equally important for her to really know Simon as well.

When she was so dismissive toward Simon’s plight in the Prismo episode, and when she so eagerly and thoughtlessly jumped on the Crown Plan - she really knew nothing about either facets of his identity. She only got such a quick clip of Ice King actually in a good mood, and all she’s seen of Simon was him at his lowest point - rude, dismissive, screaming at her face, literally considering letting her whole world burn in his own depressive spiral. 

It’s only after they reached Farmworld and officially started to work towards the Crown Plan that Fionna really started to know who Simon Petrikov is when he’s not at rock bottom. That’s when she learned how intelligent

And dorky

And kind

And comforting 

And fatherly 

And a silly little hopeless romantic for his GF

he is. 

And they became real friends and she really grew fond of all of these things about him. So now, watching clips of Ice King… it takes her some time to process it, clearly, but it also bothers her how little of these traits that she likes about her friend and he likes about himself she can see in the crazy old Ice Wizard.

Seeing also how mad and sad he could be was just what clinched the deal for her, the last excuse she could find for why it was okay (“Maybe he really was happier like that?”) gone.

And that also relates to her more general anxieties about the Crown Plan from farther in the same episode.

Now that she’s seen how much being infused Magic changed Simon… It's no wonder she’s so worried about how Magic will change her and Cake and all of her loved ones.

And it’s not a totally unfounded fear. We’re still not exactly sure how bringing Magic back into Simon’s brain will affect Fionnaworld - but it will most likely work the same as it did the other way around? When Fionnaworld first lost its magic? So that will mean not only the people and the world will change physically, but their memories and minds will also be altered as if they always lived in the Magical World and never in the Mundane world Fionna remembers.

And that will kinda make them into different people. Gary Prince and Prince Gumball feel like the most obvious comparison. One is a literal god-king who seems to have at least a bit of the old Bubblegum Hubris problem

The other is just a humble little put-on Barista trying to make it big

Becoming Prince Gumball again would be in some way the ultimate fulfilment of Gary's dream - not just a Pastry Mansion but a whole Candy Kingdom! But... it would also mean giving up on all of the memories and experiences of ever having been Gary Prince. And... it's at least worth considering if it's worth it.

We know that Change doesn't have to be all bad, Cake the Cat will testify to that

I'm sure that from her perspective, having every bit of her memories wiped and replaced is worth it if she can keep her mind and ability to speak.

But Fionna's little Storytime with Simon, I think, really gave Fionna a look to how much his reminiscing is important to him

and really gave her a glimpse to how much people's history and memories effect who they are, and seeing this and seeing what ‘turning into a different and more magical person without your original memories’ did to Simon Petrikov

It’s really no wonder it makes Fionna worried.

[funhouse-mirror-barbie]

So, I’d initially made a post that said something along the lines of “it’s weird that they had Stolas say this”—

“Only to remind the audience like 9 min later of a specific time where Stolas talked down to Blitzø”

And I also included the original scene for context/comparison:

But after posting someone DID point out that in the song’s lyrics during that sequence, Stolas was questioning his past choices and coming to the realization that his actions had affected Blitz—They stated that initial scene of him saying he doesn’t look down on Blitz was a set up for this later self-reflection on his behavior in “All 2 U”, and potentially realizing how harmful his actions have been.

And I think this is a very fair interpretation and observation—as well as something I missed, and that’s on me.

I like talking about these things openly, because I think it is really nice to get other people’s perspectives and interpretations of stuff like this, and I’m also susceptible to missing things on a watch-through.

I decided to delete the original post, b/c I realized I agreed partially with their assessment of the scene, and because there was another comment that was a little spicier, and I didn’t want people to start arguing back in forth in the comments. That’s happened before and it’s always kind of annoying.

With all of that said, I do still think those lines were a weird choice, and I want to go over why the song “All 2 U” fell really flat to me in regards to Stolas’ self reflection. (More below + TLDR @ the end)

There is, so far, a really consistent pattern in Helluva Boss’ writing, where every time Stolas comes close to reflecting on the way his actions could have negatively affected Blitz, the focus almost immediately shifts back to Stolas’ own feelings and situation.

It’s kind of become the status-quo for HB—Stolas will have a brief moment of questioning himself, before the story continues to frame Blitzø as being in the wrong.

We see this really blatantly in “All 2 U”—where anytime Stolas DOES begin to question his own actions, Verosika and Vortex chime in and immediately assure him that it’s Blitz who’s in the wrong:

And then even after, these lines where he questions himself further

The song just CONTINUES to focus only on Stolas’ feelings, and prioritize them above all else. He has a brief moment where he wonders if he’s in the wrong, before brushing those concerns away and continuing to refer to Blitz as “the motherfucker”.

The montage during this also goes to great lengths to show how regretful Blitzø is hearing all of this.

He feels terrible that Stolas is hurt—even though Blitz does NOT owe Stolas anything. You can disagree with me, but based on the arrangement that STOLAS created, their relationship is entirely transactional (and coercive, but I don’t have time to get into that mess right now).

Blitzø is in no way obligated to treat their “relationship” as something that holds meaning because of this—if Stolas is hurt by Blitz’s not reciprocating his feelings, that is ENTIRELY on Stolas. Blitz has not wronged Stolas in any way by not reciprocating those feelings.

But it’s so very clear that the WHOLE PURPOSE of this song—and this entire episode, even if there is a moment where Stolas questions himself—is to portray Blitz as the one in the wrong.

Even in the scene where Stolas questions what he’s done to Blitz and wonders if he’s in the wrong, his flashbacks include these scenes, which are framed as Blitzø being uncaring/blowing Stolas off after their arrangement:

This is probably one of my biggest issues with Stolitz as a ship, and with Stolas as a character. That the writing explicitly caters to Stolas’ feelings and beliefs, and (so far) refuses to hold him accountable for anything he does that negatively affects others. His actions have consequences just as much as Blitz’s do, but the narrative constantly frames him as being a victim.

You can say that both characters are in the wrong all you want, you can say to the audience point blank “this is what I intended with this scene”, but you still have to actually. write. the developing relationships and action of the story. Telling the audience about development after the fact is just poor storytelling.

I’ve already gone over how the narrative rarely holds Stolas accountable in the conflicts he has with Octavia, but it’s very much the same with Blitzø.

So much so that Autistic Swag on YouTube was able to make a Stolas Hypocrisy compilation video:

And because I know there’s a chance of people reacting to my criticisms this way, no, recognizing a character’s hypocrisy in the narrative is not “media illiteracy”.

Media analysis is still derived from the actual text of the story. I see fans (not just of HB, this is a general problem in a lot of fandom spaces) making wild leaps and jumps about story’s character developments, world building, plot-points, etc. and then claim that people who disagree with their interpretations are “media illiterate” and like.

Those are headcanons. Those are just personal headcanons that you made based on what you wanted to happen in the story.

Which is fine!!! Which is something that is very fun to do!!! I do it a lot actually!

Like, I could say that the green light in “The Great Gatsby” actually represents envy and that Gatsby is always staring at it because he’s actually jealous of Daisy and wants to transition from male to female and live as a transgender woman.

And that would be a really interesting concept to explore! But it would also be a headcanon because in the context of how the text is written, is clearly not the case.

Pointing out that Stolas’ actions are morally dubious at best, and that he is flawed and has done wrong and has very clearly hurt Blitzø by coercing him into a sexual relationship so Blitz can keep his livelihood isn’t media illiteracy. It’s literally. It’s just the text. Audiences aren’t media-illiterate for seeing that.

Final note time— I want this post to age poorly. I want so badly for there to be a future episode where Stolas is really truly held accountable for the ways in which he has hurt Blitzø, the ways in which he’s been classist and racist toward imps, the times that he’s neglected Octavia, and yes! Even for cheating on Stella!!

And I want this NOT because I want to see Stolas completely villainized or beat down, I want this because I want Stolas to develop and grow and change as a character. I want Stolas to actually have the nuance that the writers say he has!!

Again, as always, please know that if you love Stolas and Stolitz that I am REALLY not trying to rain on your parade. I’m not trying to convince you that you’re not allowed to like the story as is, or that your opinions are wrong. That would be really silly. You are allowed to interpret all of this literally however you want, even if we disagree.

The only, only thing I would ask you to please consider, is if you are doing the work of writing these characters development outside of the story, or are you building on what the writers have already shown you. I am not asking this to be condescending or elitist.

This is something I have to actively ask myself when reading and analyzing text and stories, and when analyzing and editing my own writing and work.

That’s all. Thanks for making it to the end of this long ass post. If you’d like to have a polite discussion about your thoughts on all of this I would genuinely like to hear it. I will delete any arguments or fights in the comments tho. Thanks again.

——————————

TLDR:

-“All 2 U” falls very flat as a song where Stolas re-examines his actions because even tho this self-reflection is set up, nothing ultimately comes of it and things immediately go back to the status quo

-This is a very consistent pattern with Stolas as a character, due to this he is severely under-developed, and feels like a completely different character from his season 1 appearances.

-People realizing that he has not had active development between seasons 1 and 2 and pointing that out is not “media illiteracy”.

-Final side note—I think the “both sides are wrong/fucked up” angle really COULD have worked, if after the bridge where Stolas questions his actions, he acknowledged that HE was also “a motherfucker”. But. Nah. Oh well.

[co-dependance]

I’ve seen people talk about the main theme of the owl house being acceptance, and I think they’re completely right about that. But I haven’t really seen anyone look at the sub themes depicted in the show around the acceptance theme.

Specifically how the owl house is really advocating for child autonomy. Specifically in the ways of discipline, showing that communicating and talking with children ends up being a lot more beneficial and effective than punishing them.

The most obvious example comes with the collector, where instead of talking to him, King’s dad punished the kid by putting him in essentially time out, for the actions of his siblings. Which he would’ve learned if he had talked to the collector. And then following that, every interaction before talking with Luz, has the collector being used or placated in some way instead of being treated like an actual child due to the amount of power he has. The titan trappers revering him as some sort of god, Belos manipulating him, and even king attempting to appease the collector, instead of really talking to him. Though for king it’s a bit more understandable. Even so, the show showcases the collector’s change only after he’s talked to like a person, and then shown why his views were wrong.

Luz, who’s the main focus of the show, has her character arc and journey centered around being punished for her not fitting in at school. And while, yes, some of Luz’s antics that were shown seemed to be legitimately dangerous, the real solution would’ve been to talk with her and teach her about safety and why bringing wild animals and fireworks into a school building is dangerous. It should have also been that Luz should be able to talk and negotiate with her teacher about what would be acceptable for her projects with her endless creativity. The solution was not to essentially punish Luz for being creative, and what that only did was make her feel worse about herself and more isolated from the people she thought would be on her side. And then we were shown in thanks to them and for the future, Camilla’s growth into understanding that not talking to Luz about this, and essentially forcing her into normality, was not the way to go about things.

And we see this theme again, with Willow forced into the abomination track because her parent’s thought that was what was best for her, until she was able to showcase her skills and switch to what she was actually good at. Alador realizing he missed a lot of Amity’s growth by not talking to her, and then making it up to Amity by letting her set the boundaries and reestablishing their relationship. Odalia being controlling and not listening to her children which lead to actively harming their social development, until she was confronted and then shut out. Belos manipulating Hunter, isolating him, and abusing him, not even listening to what he had to say. And all of these situations were made better and more bearable when they were given the chance to take charge and be heard.

All this, in an attempt to showcase that children can be vulnerable and malleable, but they are also smart and understanding. And instead of deciding what a child needs, it’s important to communicate with the child instead, asking what they need and listening to what they’re saying. And implementing that by guiding and supporting them, not attempting to control them to what someone else thinks is right.

Children are smart and observant, they just need to be taught how to communicate, and viewed and thought of as actual human beings.

In a way, the owl house is attempting to advocate for it’s audience, and that’s beautiful.

[insecure-snek]

I feel like this is probably an unpopular opinion (that’s why I’m posting here and not on twitter) but I just wanna know if anyone else feels this way.

Obviously, I think Wilbur is the one Shelby is talking about, and as someone who was also abused, I feel stronger hearing her story. I hope she’s able to find peace soon.

Maybe I’m just an overly optimistic person, but I think Wilbur needs help. A lot of it. And I think, probably not a popular idea, that even though he’s a piece of shit in this situation, that he deserves it.

I’m an overly trusting person by nature. Obviously I wasn’t there when any of this happened. I am just a stranger on the internet. I don’t know what went on, I didn’t see anything happen. However, I think I want Wilbur to get better and I think he can.

He needs to be deplatformed. At least until he has PUBLICLY apologized to Shelby, and is showing to his friends (not us, the audience, not only Shelby, EVERYONE HE KNOWS PERSONALLY) that he is making an effort to never treat another person like that again. But I think, and please don’t come with your pitchforks for me, the person Wilbur abuses the most is himself.

He clearly has other problems that are not making him a good person. Mental health is not a excuse for poor behavior. However, it is an explanation. Your mental health issues and trauma are not your fault, however, managing both those things are unfortunately YOUR responsibility. They are HIS Responsibility to fix and manage, not Shelby’s, not Phil’s, not James, NO ONE BUT HIM.

Call me stupid, or crazy, or whatever, but I firmly believe in the idea of (almost) every human being capable of change. I have siblings who used to treat me terribly, who are much older than me, and I was hurt by them. But as I grew, I saw them realize just how terrible they treated me. They changed their behavior, and apologized to me many many times. They showed me people can wake up and change their lives around. And, whether or not Wilbur comes back to content creation, I hope he gets the help he so clearly needs.

Shelby owes him nothing. His fan base owes him nothing. His friends owe him nothing. Wilbur owes them everything. Shelby deserves to hold back her forgiveness when it so clearly isn’t deserved. She should never forgive him if she doesn’t want to. That’s her right.

Maybe I believe in people too much. But I truly hope he changes. Not only for his friends, family, and loved ones, but for his own sake. He’s going to end up dead if he continues this way, and I believe no one deserves to die. (I’m not even for the death penalty. Let them sit and suffer forever).

Anyway, get some rest all, drink some water, and remember that the world becoming a better place starts with you. Treat people the way you wanna be treated. 💕

Update: Wilbur’s response was absolutely awful, no surprise there. As someone else who responded said, abusers often don’t think of themselves as such. I still hope he gets help. Props to ranboo and all the others standing up to him. I hope this wakes him the fuck up. Until further notice, please stop supporting him. Unfollow him, un add his music, whatever you can to get him to deeply regret this shit he’s done. Those were his actions. These are the consequences.

[hwere]

Some people here seem to forget that Sydney also has her own problems. Carmy isn’t the only one going through and dealing with shit. How is Sydney supposed to hold Carmy accountable and help him, if he’s not even listening to her on a business partner level?

Conflict is good. Healing isn’t linear. I’m not a child that needs her fiction to be spelled out and squeak clean, but this season proved to me that I can’t trust the team behind the show.

All of the characters this season were written to enable Carmy’s psychotic behavior. Everybody’s progress was thrown on a limbo because of Carmy, all while the team wasted precious time on irrelevant (white) characters and cameos.

Of course I don’t want this man suffering alone, in the same vein that I don’t want to suffer alone, but one of the most beautiful moments this season was Natalie telling Donna that she’s done with hurting herself in order to protect her.

Life taught me that you can only help someone when that person is willing to be helped. There’s no point in hurting and/or traumatizing yourself, waiting around for the person you love to realize they need help and need to change, if they don’t show you signs that they’re trying and want the help—Carmy, so far, has only been words and empty promises. Nothing more.

Which, again, would be good and interesting if the team hasn’t wasted an entire season on irrelevant characters and cameos.

This season we only got glimpses of what constitutes the beauty of The Bear. This isn’t good television, I’m sorry. Showrunners/writers got too comfortable with fans doing the heavy work for them, playing detectives to transform lazy writing into intentional foreshadowing and subtext.

Life’s brutal and you’re only a person. Sometimes, walking away is the best thing you can do for yourself and the person you love.

To me, it doesn’t really matter how much I love Carmy and relate to his problems and struggles, I don’t want Sydney to be his punching bag. I don’t want Sydney to be responsible for him. I don’t want Sydney to be loyal to a detriment—like Richie. At the end of the day, this is still a work of fiction and I’m tired of watching black characters being the support for white characters.

If Syd decides to walk away because she assessed the situation as being more harmful to her than anything else, I’ll support her.

I don’t need SydCarmy together to enjoy the show, but I need everything else. I don’t want to be belittled. If the team wants to make a mess out of a beloved show in order to stop the audience of shipping two characters, they can go fuck.

Nobody learned anything with Game of Thrones?

[toxicanonymity]

For context, a tumblr account has been posting anon hate for the past week or so, mostly toward writers. A parasocial hater of mine discovered the account and has been going to town. I posted this after they invoked Israel as an analogy. Yes really.

Obviously I am disgusted by what I just read, and floored that anyone would post such a deranged analogy in the interest of stirring up fandom drama. I'm very sorry to everyone who has been attacked and everyone who has witnessed all this. Others have posted about the situation as a whole, and I'm not sure what I could add. But I want you to know many of these "confessions" are from one individual who has been fixated on me (and probably others) for weeks if not months. I already had the following in my drafts:

warning: please don't read this if you're sensitive to hate or could be triggered by the trivialization of real abuse. (edit: they went on to trivialize genocide too but they'll pretend to be different people). there's also a really gross anatomical reference.

the screenshots are all after I blocked them.

I normally don't address things like this, but that's because I'm trying to keep it off your dash and off my blog (for several reasons including not wanting to give the hate a larger audience). Normally I block/delete. But thanks to a blog dedicated to posting anon hate, some of this is already on the dash, and I thought some additional context could be illuminating.

a couple weeks ago, this person chimed in on my non-fandom post, and their comment made me uncomfortable. I checked to see if they followed me and they didn't, plus their blog tagline was antagonistic. I was confident they weren't being earnest. I replied, pointing out my issue with their comment and asking them to keep their thoughts to themselves rather than coming at me from a sideblog. I thought they must have followed me from a main account since they somehow found an untagged, unreblogged post without following me. But I now realize they were simply hate checking my blog.

(Blocked the burner too)

They were saying this last bit preemptively - I've never talked about stalkers here. I didn't include all their anons, just enough to show they clearly out themselves as being the same person. In other "confessions," they make repeated references to a former fandom writer they idolize (not me) who they also posted about on their blog.

I won't be dropping this creep's url in this post, but I had never heard of them. This week they have repeatedly changed their url, display name, and blog appearance. Their writing is recognizable and I believe they are responsible for the unhinged asks preceding katy's departure from tumblr. They also made a rude comment on her post.

This may only aggravate them. I expect them to hurl any lies and accusations they can think of toward me. They will act like they're laughing and amused, too. You may recognize their tone. I want to trust this fandom not to believe and repeat anything they hear, but unfortunately my experience in this fandom leaves me pessimistic.

I can only hope people use common sense at this point.

Note - I know I'm normally really private about everything, but you're welcome to share this. Their lies are already out there anyway. Also feel free to DM me and I will tell you what you want to know.

Update: the anon-hate account referred to above has deactivated. It was named pedgeconfessions. It wasn't the first to pop up this summer and may not be the last.