#especially her second point in the post

[aliesawaheeda]

Why do you ship lukagami

I really like both of the characters heck they're still my top favorite character despite I don't enjoy watching Miraculous anymore. I always have been quite positive about them since they were first announced (I've been in this fandom since 2016) even welcoming the upcoming rival ships from those two as much to the dismay of other fans at the time.

I didn't think to ship them although I reblog a few awesome Lukagami fanart available as I really like the two characters so much. Here's the first Lukagami fanart I reblog. I began shipping those two together when Frozer came. Sure that episode didn't have them interact with each other at all (holy crap I can't believe we had to wait for 4 years to have them actually talk to each other in season 5 which is unbelievable :/ ) but them being good ice skaters really started up my shipping brain and realizing the appeal of this ship especially when this post simply points out the contrasting personality between the two, I was on board. On top a few fanarts of the two especially this from the same artist of my first reblog and this!

Honestly, I don't think I would be super into this ship if it weren't for these two artists, @/15megapixels and at Instagram lilbeanie.artz / smol_bee.doodles that had created many contents for this rare pair especially the former. Here's my favorite art from 15megapixels (a picture of only their hand linking each other is quite touching for me which reminds me of that popular ladynoir hand holdings fanart and the caption related to S4 Truth and Lies) while this comic from lilbeanie.artz is my fav overall because I like it revolved around "second chance" which is one of the few things that specific phrase connects to both characters. The artist also created a Lukagami Bad Little Boy animatic which is awesome to see and should be checked out.

I began doing more Lukagami fanart of my own (unfortunately you can't find it here as I had deleted my old art account and restarted a new one due to the blog for some reason getting shadow banned) until 2020 when my interest shifts to another fandom. Not as great as the previous two artists because I'm quite a rookie in drawing but still it does inspire me to make content of my ships. Hence why I do have such fondness for this pair. They had been the first ship that fuels and explore my creativity which I didn't realize until my late teens.

I'm not going to list out the reason and appeals for this ship as this post is already too long but most of the posts I've seen listing out the reasons, I most likely agree with their points, and makes much more sense in my personal opinion than the canon ship they went for Kagami. I hope if there's a reboot for this show, the future writers see this ship's potential.

[wintertundra-art]

I can't believe the amount of lore I have for my ocs compared to the main story which is like lots of events I have no idea how to link to each other

[my-current-obsession]

I am taking note of every single villager who honestly suggests that Micah's half-monster status might have given his chosen bride cold feet and led to her running away and they are ALL dropping several positions in my internal character ranking.

[mbat]

sorry for the james somerton jumpscare but im finally getting to finish hbomberguys video and the fact hes wearing this hat is painful to see. YOU DID CRIME. AGAINST YOUR OWN COMMUNITY! THATS NOT WHAT BE GAY DO CRIME MEANS!

[kaidanalenkosprmanager]

THE BEST OF PRIORITY: TUCHANKA (PART 1)

Featuring: Cmdr. Sophie Shepard, Urdnot Wrex, and Urdnot Bakara With: Dr. Mordin Solus, Primarch Adrien Victus, Dalatrass Linron, Urdnot Wreav, and Comm. Specialist Samantha Traynor This will be the defining moment of Krogan history... Mass Effect 3: Legendary Edition (2021)

[wavesoutbeingtossed]

I should leave this in a tag post so it's not on main but whatever, I'm in a mood and listening to "peace" for the first time in awhile along with this rambling mess from the other night puts me in my feelings because "[you know that I'd] give you my wild, give you a child" is such a vulnerable, raw, honest confession to share with someone (let alone put in a song on a Grammy-winning album) and I don't know how much clearer the pipeline from there to the events on TTPD could be but just. It's heavy, but obvious and understandable (to me). And I'm not about to delve into why because of reasons and also don't want to come across as projecting or speculating or whatever but. Once again I think if you're in a certain age bracket and life stage so much of this just makes sense inherently.

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

[dangoulains-devotion]

yuffie has many interesting elements to her but people refuse to move past "i find energetic kids annoying" and it makes me sad

[arolesbianism]

Working more on the local group of Synchronized Light and hoo boy. There's smth wrong with these guys.

[catvids]

they gave my favorite character a closed arc and wrote her out of the story 👍

[homielander]

every once in a while i remember that nobody in season 3, not even annie or MM, ever bothered to bring up the very valid point that maybe the boys shouldn't be hunting and killing supes who haven't actually done anything wrong (at least to their knowledge), and i am filled with rage all over again

[designernishiki]

sometimes i kinda wish mirei wasn't killed off because boy the divorced exes dynamic with majima could've been so god damn funny

[tvrningout-a]

chiyo, formerly a background character, suddenly experiencing main character moments after she was bitten bc that makes her a main character now?? yes and it's the silliest day of clichés and freaking out over inconvenient powers :' ))

[tarninausta]

Luthien for character bingo? 👀

I know she gets a rep for being boring and I didn't much care for her at the beginning but she's GROWN ON ME OK I just. I can't resist the orpheus and the way she echoes through the ENTIRE legendarium <333 her journey too it's so beautiful and fairy-tale-like. I really need to reread Beren and Luthien because I've been thinking about her a lot lately ❤️

[ambrosiagourmet]

I've been thinking about Laios' succubus lately. Mulling it over a bit.

Because I've seen these pages brought up a fair bit, but almost entirely in the context of shipping (on all sides, really). And I really want to understand what they are doing for the story beyond that.

When I went back to reread the scene and section, a few things caught my interest: the way Laios responds to both forms of his succubus, the themes of the volume the chapter is found in, and the other events of the chapter itself.

So let's dive into those three things, and what I think they say about the succubus scene's purpose.

Laios is never fully frozen by the succubus

So. If you compare Marcille and Chilchuck's reactions...

to Laios':

-

There is a difference. Sure, the basics may look the same once it turns into Scylla Marcille, but even then, it functions differently.

Chilchuck and Marcille are completely frozen once they catch sight of their succubus. Izutsumi, as well, isn't able to look away, and completely freezes up once her 'mom' starts talking to her. As Chilchuck describes, "just looking at them makes you unable to move."

And yet, Scylla Marcille has to actively convince Laios to comply. He even looks away from her at one point!

Laios accepts this succubus, but he is never actually helpless to it in the same way. Taken in? Convinced? Sure, at least enough to let things happen that he probably should question more than he does. But magically compelled? Not really. Not the same way as everyone else is. So that's interesting. But let's move on for now.

2. Volume 9 is all about drive and desire

I don't often look at chapters within the context of the volume they are included in, but I think there's some really fun things to be found with that perspective in mind.

For one, volume 9 starts with an exploration of what desire brought Laios to the dungeon:

And ends with a question of what desire brought Laios to the dungeon:

It's also very concerned in general with questions of why people do what they do. Why they are in the dungeon, why they are with the people they are with, why they stay, what they fight for.

In addition to Laios, we see it with Marcille...

Izutsumi

Kabru

and Mithrun

Hell, we even get it for the demon!

It's certainly not the only volume concerned with desires and motives, but it is particularly focused on these ideas.

The succubus scene fits quite well into the ongoing question about desires, especially Laios' desires. It is even placed at an interesting spot within the volume. The volume is six chapters long, and the scene takes place at the start of the 4th chapter. It's almost smack-dab in the middle.

With all this in mind, it is interesting that, with both versions of the succubus Marcille, it's not totally clear which parts of her Laios is rejecting.

The first version of Marcille looks human, but Laios attacks when he identifies her as a monster. The second Marcille looks like a monster, but he seems to believe that she is the real (human)(ish) person that he knows. So is he rejecting the monster at first, and then accepting the person? Or is he rejecting humanity and only interested in the monstrous?

Something to consider as we look at the next point...

3. the rest of the chapter is a seduction, too

This is one of those things that might not be apparent on a first reading, but is crystal clear on a revisit. We see the succubus try and charm Laios over 7 pages, and then see the Winged Lion do the same thing for the next 19.

Much like the succubus, it offers the mingling of monsters and humans. Much like the succubus, it offers belonging.

(and this is the point where I absolutely must also link this post by fumifooms on the succubus, which has some great ideas on how the scene is informed by Laios' trauma and desire for acceptance!!!)

But, back to the point. The Winged Lion wants to feed on Laios just as much as the succubus did, and it uses similar strategies to try and make that happen. Though this chapter isn't really the turning point for the next Lord of the Dungeon (it is Marcille who will, eventually, become the Lion's next victim), it certainly behaves like it is.

Laios is convinced. The succubus gets its meal. By the end of the volume, the reader begins to understand how concerning his desires are. Together, it is all very good at building up that sense of dread and pending disaster, as we see exactly how and why Laios might just fall into the Lion's open arms and bring about the end of the world.

-

So that's the three things I noticed. But there's still something I want to touch on by looking at the way these observations overlap, and what they reveal, together.

As I said, by the end of the volume, you can feel the tension growing. Just as Kabru and Mithrun do, you look back for an answer to the questions that have been built, chapter by chapter: why is Laios here? Where will his loyalties fall? This chapter, and scene, seem to prove the inevitable truth: he will choose the monster, of course. He will choose the seductive, easy power of the Winged Lion.

But the details of what actually happens tell different story: one in which the Lion is wrong.

First, as a reminder - even in Scylla Marcille mode, the succubus never fully entrances Laios. It convinces him, but it doesn't have him completely under its thrall.

Similarly, in the dream, the Lion does convince Laios to embrace the world he is offering. But even within that dream, Laios continues to ask questions that will be vital to him later. It is because of those questions that Laios comes to a new understanding about Thistle.

And it's this realization that he cites later as part of his reason for refusing the Lion's offer.

He is thinking through things the entire time, just like he continues to question the succubus even after it turns into Scylla Marcille.

Laios also expresses an interesting reason for why he wants to see the future of this world. He's not just invested because it would mean people liking what he likes, or him getting to spend time with monsters. The thought that comes immediately before his acceptance is about what he wants for monsters and people.

I don't think it's a coincidence that this statement - "we're living beings that share the same world, but all we can do is keep killing each other" - can apply to the various humans races just as much as it does to humans and monsters. The thing he is thinking about here isn't just a matter of his personal daydreams. It's an idea that underpins every conflict in the story.

Laios caring about how people as well as monsters in this manner is something that the Lion gets wrong every time. Even at the end, he still frames Laios' desires entirely around hating people and loving monsters.

The Lion has heard him express an opinion about the future of the world! It happened right there in the dream, right in front of him! He just didn't take it seriously, and didn't view it through any lens other than "Laios likes monsters more".

He's convinced that he understands how to get to Laios. Maybe the Lion can't truly see everything, or maybe his vision into everyone's deepest desires has made it hard for him to realize how much choice still matters. That people can, and do, choose which desires to act on, and how to act on them.

Whatever the case, he's wrong about Laios, and the story shows us this over and over again.

After all, look at how the succubus interaction plays out:

A monster uses Marcille to appeal to Laios...

He realizes that something about the situation is wrong, and rejects her.

It changes strategies, and makes new offer: to turn him into a monster.

It also assures him that his friends are, or will be, taken care of.

He accepts. Or rather, allows the monster to have its way with him.

But Laios is not as helpless as he initially appears, and what the Lion thinks is a successful seduction also contains the seed of an idea that will allow Laios to later resist him.

We even get to see Izutsumi playing a similar role in both instances, as the one person fully able to take action in the face to the illusion.

The story lays out what is going happen, and then explicitly tells us that the demon and the succubus are thematically related.

The chapter performs a great sleight of hand here - everything about it seems to indicate that Laios is doomed give in to the option to have his deepest desires realized. But if you look closer, it also contains the evidence that he won't. There's a lot more going on for him.

Yes, he still falls for obvious tricks. He is still extremely into monsters, and he still doesn't feel like he fits in with other people. He may, deep down, crave to surrender to the monstrous - to let it absorb him. But he questions more than he seems to. He considers more than people realize. He cares so much more than anyone gives him credit for.

And I think this is part of why we see the succubus called back to so many times, especially with the wolf head addition to his Monster Form, which he specifically added due to his encounter with the Scylla Marcille.

This all stays with Laios. It doesn't just foreshadow the path of the story, it is fundamental to how and why he walks that path. It's not about him choosing monsters, and it's not about him choosing people. It's about how he considers both, and cares about both.

And it's about the forces that think they already know his answer. Mithrun and Kabru. The Winged Lion. The succubus.

It's about how they are wrong.

[jame7t]

I mean this genuinely: the ceo couldve absolutely just gotten away with this still right after the c/a/r h/a/m/m/e/r posting saga if he just stayed on vacation.

Following a woman to a second website (AFTER SHE SAID SHE WAS DONE WITH THIS ONE) and continuing the drama, blaming her for being banned (when the crux of the issue wasn’t even the bans, it was the repeated harassment staff did nothing about!)

I seriously don’t think he realizes how much this undermines this platform and staff. Like, dude, come on. “If you don’t like it, leave!” Is not a good response, especially if you’re going to follow her to a different site anyway and personally bother her.

He’s even complained about receiving death threats- and death threats are bad! It’s bad to have death threats sent to you. So why is it ok when they’re sent to her? Like that was the issue. THAT was the issue. And from all his posting it seriously seems like he doesn’t get that.

The time to own up to shit and apologize was a few days ago at this point. This is putting a lot of really bad behaviors on display in front of two websites now.