#even though these characters are no more or less flawed than any other 'more important' character on the show

[lunar-years]

also also. a lot of people are coming at Shandy for being clueless and bad at her job (true) but ignoring that (and know that I say this with DEEP love & affection for her, truly) Keeley is also... kind of clueless and bad at her job?

I don't mean bad at every aspect, obviously she's great at running PR and she proved that by a tenfold during her time at Richmond. But she is categorically not being a great boss right now. She's certainly trying really hard, but she's overcompensating and flailing and the result is that everything is not going well.

Rebecca had to tell her what a CFO is, which means she doesn't understand (i.e., hasn't taken the time to understand) the roles of her employees; She literally did not know her boss'/financier's name or that she was a woman? What? She was more concerned that Jack see her as mysterious and interesting than you know, competent and a good employee. And yes, she hired Shandy without consulting anyone, but then she's not given Shandy the supervision and guidance she clearly needs. Why was Shandy thrown into that whole Bantr campaign all by herself? (And Shandy, by the way is also not bad at every aspect of her job. She was doing well at running the shoot. Presumably she got Zava to hype up Richmond a bit on his socials. She heard 'Bantr needs more subscribers' and ran with it, but she didn't understand the assignment when it backfired on her and it is kind of coming across as...Keeley didn't totally explain it to her?)

And again this is NOT a diss at Keeley or me trying to totally alleviate Shandy of blame for her very large and questionable fuckups. I think the idea is...they are both floundering because they are both lacking the belief and support of the people around them. Keeley, I think, is very paralyzed by imposter syndrome and feeling so out of her depth that she's just... given up on some aspects of her job. Obviously her coworkers dismissed her off the bat because of how she presents herself and how they equate that to her not being professional enough or smart enough etc. This is completely awful, but it does not negate the fact that just as they don't understand her, she doesn't understand them? And she hasn't been shown to make any real attempt at connecting with them in a meaningful way.

At Richmond, she had Rebecca's support every step of the way. Now, she is isolated. Not only at work, but also in her personal life. Her only friends are both coworkers (Rebecca & Shandy) and then there's her breakup with Roy, which she hasn't had time to fully process or come to terms with because of the job.

The theme seems to mimic what's going on at Richmond right now: we can't be our greatest selves on our own. We've got Roy isolating himself as a bad solution to his problems, Ted's once resounding belief in his team giving way to like, complete and total apathy, the team misplacing their belief entirely in Zava alone, Nate's mental health plummeting now that his only "support" is Rupert. And they're going to flounder like Keeley is floundering. Like Shandy is floundering and will continue to flounder as even Keeley's faith in her wains.

We need the people around us. We need their belief. In the end, coming together is obviously what's going to save the team, but I do think the same thing will happen for Keeley at her workplace. Things are definitely going to get worse with Shandy in the interim, but I hope in the end she is able to prove that Keeley's initial belief in her was not unfounded. Just as Keeley will start to build a new support system, with (hopefully) Jack, and reconnecting with Jamie and presumably Roy, and regain the belief in herself that allows her to believe and uplift the people around her, too.

[daiziesssart]

a humiliatingly long character analysis of lily evans

Someone sent me an ask that briefly mentioned how misunderstood Lily is, and before I knew it I was typing out this monster. I am. sorry. This is literally just me rambling about her, what I find compelling about her character, and why her character is so often misunderstood.

This is long as hell so I'm putting it under a read more lolol

Part of the reason I like Lily so much (other than my being ginger and projecting onto any redheaded female character I see) is that even though she isn’t explored as much as her other Marauders Era counterparts, we know enough about her to start building the framework for her character. And what I see is a girl who was incredibly interesting, kind, and flawed.

One thing I always think about in regards to Lily is that she was dealt with a pretty unfair hand. As soon as she receives her letter, she’s basically torn between two worlds, both of which have been less than welcome to her. On one hand, we have the muggle world that she’s known all her life, but once she starts integrating into the wizarding world, she likely feels a bit of a disconnect with that world. To twist the knife further, her sister- whom she loved dearly and grew up so close with- starts outwardly resenting her with such unbridled hostility that they likely couldn’t even be in a room alone together without major conflict. 

On the other hand, we have the wizarding world– a world she’s not as familiar with and one she soon learns holds a demographic of people who hate everything she is and would rather see her excommunicated or even dead. And even though finding out you’re a witch/wizard is probably such an exciting and life-changing moment, I can’t help but also take note of the difficulties, especially if you’re the only one in your family with magic. You’re essentially uprooted from the only way of life you’ve known at an already complicated age, and now you have to quickly become acclimated to this new world that you only just found out existed. Not only that, but now you’re suddenly attending a school with classes that are primarily focused on this world of magic (which is still brand new to you), and you have to work extra hard to play catch up in order to do well. Like, that all seems like… a lot for a kid to handle.

And then I remember how young she was when she was thrown into that mess. She was only 11, and kids that age desperately crave any sense of belonging. I mean, that’s something that still holds true for adults, but it’s especially critical for a developing child. So imagine Lily, ages 11-15, struggling to stay afloat in this weird purgatory between these two parts of herself, both of which have been the cause for major and traumatic experiences relating to rejection in her life.

(I say it was the “cause” even though it’s obvious that those things were never her fault at all, but when you’re a young kid navigating the world, the only thing you’re able to process is that the common denominator is you, therefore you’re the one who must shoulder the blame.)

So now we have this tween-teenaged girl who has a dysfunctional relationship with two major parts of identity and probably feels absolutely lost. 

This is why her hesitancy to end her friendship with Snape makes sense to me. Even though by fifth year he’s already well past toeing the line with the dark arts, Lily was willing to overlook some pretty egregious and troubling things in order to maintain the relationship. I kind of interpret that as her way of desperately clinging on to any sense of belonging she has left; her relationship with Petunia has already been poisoned, and now there are people who resent her existence as a witch; if she loses Severus too, what and who else does she have? And what tone does that set for her, if everyone and everything she’s come to hold close to her ends up turning her away?

It’s also important to note that not only is Severus one of her few remaining connections to the muggle world, but he’s also a wizard who grew up in the muggle world; he understands her, and I don’t doubt that he gave her some stability at times when she needed it (her finding out about her being a witch, her having trouble acclimating to the wizarding world, etc).

I see this as being one of her flaws and I can actually appreciate how relatable and realistic it feels. Lily is not a bad person; on the contrary, you’d be hard pressed to find anyone to describe her as such. Not to get all clinical and boring, but the interesting thing about (unhealthy) coping mechanisms is that it can actually be really hard to identify them in your own behavior. Unless you’re in therapy and/or are actively psychoanalyzing yourself, you likely don’t even realize how many of your common behaviors are born from self defense mechanisms put in place by your brain after past events.

To me, it makes sense why she avoided actually confronting the idea that Snape was too far gone. We know that she was aware of the path Severus was taking, but it almost seems like she was still convinced that she could save him, and could possibly steer him back in the right direction. It’s only when she becomes the target of his bigotry that she realizes that the Snape who called her a ‘mudblood’ was not the same Severus who was the one who held her hand and introduced her to this new, exciting world.

In a general sense, yes, it is selfish, to only take a stand when something starts affecting you personally. But I also think it’s important to note that it’s unlikely that this was a conscious decision on Lily’s part. In my eyes, it was easier to delude herself into thinking she still had a chance to save him before it was too late when she was able to separate him from his actions (considering, a lot of the time, she was only hearing about them after the fact, rather than seeing them firsthand). But the elusion is shattered once she sees that the Snape she grew up with– her friend, Severus– is, in fact, the same person who’s out there calling other students slurs, dismissing the malicious use of Dark Magic on others as just “a laugh”. There we see a Lily who is actually revealed to have been somewhat aware of Snape’s involvement with the darker side of magic, and genuinely feels pretty ashamed about her inaction.

Also, this is in no way me being a Snape-anti, and I actually could do an entire separate analysis on his character alone and why I find him so interesting.

Anyways, that moment in SWM is probably somewhat of an epiphany to her. It’s like a dam that’s been broken, and now she’s overwhelmed with the realization of exactly how much she overlooked in order to keep their friendship afloat. And for someone like Lily Evans, someone whom we know is opinionated and unafraid to call others out on their bullshit, that can be hard to swallow and feel pretty mortifying and shameful. And I think this was a huge turning point for her- at that point, she doesn’t have the luxury of avoiding uncomfortable truths anymore and now that she’s getting closer to graduating and being thrown out into the world on the brink of war, this was probably a really sobering discovery.

This is where we don’t have as much info to go off of, and a lot of it is up to interpretation. But we actually have little crumbs to go off of following her graduation and leading up to her death.

One of my favorite little tidbits isn’t in the books, and @seriousbrat's post reminded me about it. Here's the actual entry on Pottermore for anyone who's interested, but I'll summarize: after James and Lily began dating, Lily brings James to meet newly engaged Petunia and Vernon. Everything goes downhill, because Vernon is a smarmy asshole, and James is still pretty immature and can’t help but mess with him (which… fair, I guess). Petunia and Vernon storm out after Petunia letting Lily know that she had no intentions of having her as a bridesmaid, which causes Lily to break down into tears. I mention this because I also think it’s a pretty important aspect of her character; like we’ve seen in her past friendship with Snape, Lily seems more than willing to forgive others most of the time. Petunia is a bit of a complicated character herself, but she was objectively very cruel and unfair to Lily once it became obvious that she was a witch and Petunia was not.

Something that always stands out to me is just how desperate Lily is to earn Petunia’s trust and approval again. Even up until her death, she was more than willing to mend the relationship, were Petunia ever to consider. 

This is a detail about Lily that I feel is misunderstood quite a bit. I’ve seen a lot of instances of her character being reduced to a one-dimensional archetype with little to no complexity. And often, that archetype is “know-it-all, prudish, self righteous bookworm who is also a goody two-shoes with a stick up her ass”. What annoys me is that the reason for this is most definitely the scene in which she blows up at James in SWM for bullying Snape, and hurls quite a few insults at him directly after an extremely devastating and overwhelming situation for her. This frustrates me because we know for a fact that she’s the polar opposite of this archetype I’ve seen her reduced to. 

In actuality, she’s referred to as popular, charming, witty, bright and kind. From flashbacks we also are shown that she’s opinionated, bold, and not afraid to challenge others. With other context, like her interpersonal relationships, we can also see that she’s pretty emotionally driven and wears her heart on her sleeve. 

(I know Remus didn’t mention Lily much in the books, but I really love how he described her in the movies. He tells Harry that the first thing he noticed about him was not his striking resemblance to his father, but his eyes, the same eyes Lily had. He also calls her a “singularly gifted witch” and an “uncommonly kind woman”.

“She had a way of seeing the beauty in others, even and perhaps most especially, when that person could not see it in themselves.”

I know there are mixed feelings on whether or not the films count as canon source material, so take it with a grain of salt, but I personally cannot see a world in which Lily and Remus didn’t become close friends.)

Here we have a direct description of what she was like and who she was, corroborated by recounting of memories of her, and yet for some reason, this feels like the thing that is most commonly lost in translation.

I don’t think I can say why I think that is without mentioning the dreaded M word (misogyny- it’s misogyny), but I also don’t want to get too off topic so I’ll be brief: female characters are typically not given the same grace as male characters. When we have an undeveloped male character, he’s awarded the assumption that despite his lack of depth, there still exists a complex and multifaceted character– it’s merely just potential that hasn’t been tapped into. Whereas when we have underdeveloped female characters, they are taken at face value, meaning that not much exists beyond the little information we have of them. They are not presumed to have a life or a story that exists beyond the surface of what we know like male characters are. That’s why I think characters like Regulus, Evan, or Barty (just to name a few) are more popular than Lily, despite being less developed than she is.

(Before anyone gets defensive, no, I don’t think it’s an individual problem that you alone need to be shamed for. I think it’s the result of a deeper issue regarding misogyny in media as a concept; these are things that we’ve all unknowingly internalized and while it’s not our fault, we still have to do the work to deconstruct those learned prejudices.)

What I find really cool about her character is that despite how much she’s been hurt, she’s also still known as one of the most loving, kind, and considerate characters. There were so many times in her life where the love she received was conditional and ripped away from her– and I think that’s what makes her sacrifice even more poignant. She was able to protect her infant son from an extremely powerful dark wizard, wand-less, knowing that her husband was just murdered in cold blood, just from how much love she felt for Harry. Her love was a force of nature on its own, and I just think that’s such an amazing thing about her. 

I know I’m biased, given that she’s one of my favorite characters, but even upon delving into this, I still just find it so incredibly hard to understand how anyone can actively hate her (not indifference, but actual dislike). In my opinion (again, no one is unbiased, and she is a favorite character of mine, but trust me when I say that I’m trying to be objective as possible when I say this), she’s probably one of the most likable characters of the Marauders Era. I think perhaps a lot of people haven’t given her a chance or really taken the time to learn about her character, but it could be a myriad of other reasons that I’ll never understand. 

There's so much more I could say but this is long enough and I will stop myself

Lily Evans, u will always be famous to me

[harmonysanreads]

Hello there! 👋 I really like your al haitham fics and I was wondering...

if you could do a yan! al haitham with a reader who's sweet and friendly? (Basically a sunshine reader cause I like sunshine characters to balance out the cold characters)

(Hope your having a good day! :) )

Apricate

yandere alhaitham x reader

cw(s) : general yandere themes

no because I'm so soft for this pairing too (T▽T) Sunshine x Sunshine Protector so trueee

Alhaitham has found himself in a predicament as of late.

Well, ‘predicament’ as far as the time it's requiring him to decipher the case — which, if he was honest, has snowballed further than what he deems efficient of himself. Whenever Alhaitham finds himself in a pickle, his tactic is to assess the weakest link of the situation, so that it's solved with minimum energy and action. However this time, doing that had just resulted in him being stuck in his head for weeks, vacillating between the plethora of methods to integrate your existence with his — without any repercussions.

And by which, he means for your hand in marriage.

Now, this questionable phrasing appearing to be a misnomer for a rather harmless intention for someone of his age, would've sounded less absurd if the conditions for a proposal with such social importance were met — you know, if both parties were familiar and shared adequate affections to escalate to that stage. The Acting Grand Sage is not delusional, you and him barely know each other (or at least, you do) but does that stop him from planning ahead?

No, not when he's certain there'd be no such gap remaining once he's finally cracked the code.

If Alhaitham was being honest, he truly has achieved it all : academic accomplishments, a stable job with a handsome wage, a spacious house, his title as one of Sumeru's heroes and his looks as the cherry on top — the only thing lacking now, is someone to bring warmth to his house (and no, his leech of a roommate does not count). It's fairly recent that such an idea or need occurred to him, being most content with his own presence for all his life, he had thought that he could pass the rest just the same.

Had it been the images of lovers strolling along the streets of Sumeru hand-in-hand that he'd previously paid no heed to? Had it been the children coddled alongside their parents and the passing thought, could he have that, too? If he tried? Or was it just you, who'd become the challenger of his views?

He's well-aware of how he's seen at times ; an emotionless rock. Which is why his late-grandmother had been concerned at the earlier days, even the most self-sufficient human is bound to crave connection at one point and who would accept him, if he continued to be like this? Alhaitham had thought about it long and hard, does he need to change himself to be accepted by you, at least? Would his brooding bluntness dent your amicability?

Alhaitham has only talked to you thrice, but three times is all he needed to confirm that no, he needn't put on a facade when you can just become the flower blooming alongside the rock ; balance his flaws and in turn, he'll balance yours. And what better way to ensure that equilibrium than through the sacred bond of marriage?

Now, if only these other pests could stop leeching off of your attention.

Alhaitham watches from his peripheral, there is you, surrounded by a group of people again. It seemed as though you came to the library for something important but instead got swarmed by your ‘friends’ asking for help with this and that. Normally, you delightedly handle these crowds, solving each of their dilemmas with grace. Today though, it seemed your urgency weighed more.

Disappointing as it is admirable in a way, people of all kind seem to always flock around you. The Acting Grand Sage understands better why they do, your luminous countenance has drawn him to this pit as well. But unlike those fools, at least he isn't blind to your personal space. The predicament as a result, is like this : how can he form that connection with you if you're always surrounded by these self-serving idiots and achieve his greater plan of a peaceful, fulfilling life?

He notices your attention shift to his person at the corner of the library, you're quickly giving apologetic smiles to everyone surrounding you, pushing past the crowd and making your way to him. If you looked back, you'd be able to see the array of flabbergasted faces, some then morphing into distaste when they see who exactly you'd abandoned them for — but you don't, as per the Scribe's advice.

Alhaitham pretends to be taken aback when you sheepishly greet him and ask if you could sit with him, he responds in the positive and you heave a sigh of relief.

You did it.

“I did it. I did as you advised me.”

The corner of Alhaitham's lips curve slightly, his gaze flickers between the page of his book and yourself before him.

“And how do you feel?”

You halt for a moment, as if processing your very being from the inside out to answer that question.

“I...I feel free, strangely.”

This time the Scribe fully settles on the writings of the book, taking his quill and running it along the surface of the page in a crossing motion.

“I told you so.”

Alhaitham gains the solution at last ; he needn't get rid of them himself, he merely has to make you see the bad influences of your life and have you cut them off by yourself.

First step : achieved.

[bobbile-blog]

Not sure if anyone’s said this yet but now that we have Laterano events plural I’m fascinated by their (imo) very deliberate choice of protagonists, and there are almost a couple of layers of narrative going on there. I struggle a little figuring out how to get this into words but specifically I think they’re chosen to be people who can carry a narrative without contradicting the orthodox morals of the church. There’s a LOT of vaguely anti-authoritarian rambling below the cut so please kindly bear with me and my English major brain.

I can’t really start there though. One of the reasons this is so brain hurty is how deeply it’s woven into the storyline, so to start, I have to verbalize how Laterano and Arknights writing more generally is different from other, similar settings. Because like, I hear the words “morally negative church in a grimdark setting” and my brain immediately shuts off. Come on, that’s so far beyond low-hanging fruit, if you’ve seen any grimdark setting ever you know exactly what that looks like. And sure, it was fine the first two or three times you saw it, depending on your tolerance for that kinda thing, but it gets boring quick and even when it was new it was kinda uninteresting story-wise. “Religion is always fake because it inspires hope which means everyone who takes meaning from it is either a corrupt grifter or naive and misled” isn’t just edgy nonsense, it’s also basically useless as an actual critique. It tells you absolutely nothing except how to tune out a particular kind of story, and a story that tries to get you to hear less is doing its job wrong.

So, Arknights does something different. Instead of denying the premise of the church entirely, it actually takes it at its word. Laterano is, in almost every definition of the word, a paradise. It is basically unmatched in terms of actual quality of life, with its only competitors being the Durin cities and maybe Aegir, and is worlds apart from now much the rest of Terra sucks. More than that, though, the paradise is specifically tailored to the worldview of a religion with a strong central authority - when I say it takes it at its word, I mean the authoritarian bits too. Laterano is a city that lives in perfect order and peace because everyone follows the law perfectly and they all understand each other and never fight. Empathy is really important for this, as it allows for a believable amount of superhuman societal order. Laterano has very little crime, political drama, or quarrels in general. It’s the promises of a strict higher authority actually taken at face value: everyone follows the rules and that means they have effectively unfettered freedom, because they don’t want to break the rules and therefore they can do anything they want.

Laterano is specifically written to be a believable paradise in a setting that has none, so that when the story then turns around and criticizes that setting, it has significantly more weight. Even when the promises of paradise are taken at face value, there are still issues that cannot be addressed because the system is inherently flawed even in the imaginary scenario where it works. Even worse, the problems that poke holes in the imaginary perfect scenario are the same problems that they face in the real world, like “how do you deal with the interpretation of scriptures” and “hey there’s this racism thing I keep hearing about should we be worried about that or what”. Because of the way this imaginary perfect system works, we then look back on our real world in a new light and understand it a little better. It’s good critique.

Okay so how did we get here and what does this have to do with the protagonists? Well, this starts with Fiametta in Guide Ahead, because she’s a really weird protagonist. This is a cold take at this point but despite being the character on the front of the box, she has very little to actually do with the central conflict of the event. Most of the conflict is handled by Ezell first and Andoain second, and Fiametta mostly putters around putting holes in people until the finale where Andoain receives the answer he’s been looking for, he turns to explain it to the world, and he runs into the only person in the whole of Laterano who does not care about his motivations or his revelation. Her role, in other words, is to replace the climax of Andoain’s story with her own, and in doing so she makes it much harder to actually get a resolution and a meaning out of the story (this should not be taken as a criticism of her character, let me cook). Guide Ahead’s ending is hazy, with only small piecemeal resolutions to its conflicts, and for the longest time that was just the way the event was written and it stood on its own.

But now, Hortus de Escapismo is out and the monkey brain see patterns. Specifically, with the choice of protagonists. Because Executor is definitely different from Fiametta as a protagonist, but there’s one particularly important connection between the two, and that’s that as I mentioned in the beginning, they allow for stories don’t contradict orthodox morality. Fiametta we went over, as she’s uninterested in any of Andoain’s morality and just wants him dead. Executor, though, is purely focused on his mission and views the world through that lens. He only wants to achieve his objective, and while helping the needy is in line with the stated objectives of the church and he does do so when able, it’s secondary to his assigned task. He does change as he gets further into the story, and we’re not gonna ignore that, but we’ll be back to it later. What I mean is more that he is designed as a person who is able to lead a story that doesn’t contradict with the morals of Laterano. He sees the injustice and suffering around him, but that’s not his job, so he doesn’t need to solve it to have a complete story with a happy ending.

This is where it really gets complicated, so I apologize if I don’t explain this very well. I see this as us dealing with multiple layers of fiction: the events of the story, the perspective of the church, and our perspective as readers. Back to the first point - authoritarian institutions almost always use stories to sell people on their brand of order. Simple stories, simple enough that even calling them myths seems like overselling it a little, your “Saint George slays a dragon” kinda thing. This is the point of the second layer, the perspective of the church. I don’t really have an in-world justification for this layer - maybe you could make the argument that it has to do with Law’s perspective on things, but I don’t totally buy that - I think it’s more in a weird narrative transition space for people who don’t read very carefully. Regardless, Fiametta and Executor’s shared indifference to the questionable circumstances surrounding them is designed to let them tell a story to prop up the existing order. Their protagonist status and their missions are specifically constructed to allow them to ignore the suffering around them, and as such ignore the larger questions that might poke holes in the larger order. They’re both playing out the story of Saint George, where they go and find a bad guy and kill them and that’s all there is to it. The story is designed and told specifically for that “that’s all there is to it”.

But, as we said earlier, this is a good critique, and as such it intentionally undercuts this story with the third layer: what we actually see as readers. We are shown the suffering and the injustice, and then get to see our protagonists ignoring that to pursue their goals. This is what gives Guide Ahead’s ending its unique texture, which sets it apart from every other event with a vaguely unresolved ending. We have seen the actual issues with Laterano, and also watched our protagonist explicitly ignore them in favor of her own story. It’s unsatisfying in a way that only really makes sense to me if we as the readers have an understanding of intentional authorship. Whether it be Yvangelista XI or Law or The Actual Real Life Pope, there are issues here that we want to see a resolution to but people are choosing not to address them. Again, it’s good critique. Not only does it push the reader to unpack and understand the actual real-world technique, but it also helps blunt it. You have just seen a plot and protagonist ring uncharacteristically hollow. You then look around to see why that is, and you realize there are many things that should have been resolved that weren’t. The next time you see a story resolve with that same hollow-ness, you know where to look. Surprise! Harry Potter was propaganda the whole time. It’s okay, it was never good, you were just twelve.

I guess the last thing is where we go from here, because Executor’s story breaks this mold somewhat. In Hortus de Escapismo, he has to deal with a mission that isn’t actually bounded by his normal rules, and because of that he actually does have leeway to help the people around him. He starts as someone who is totally mission-focused, but by the end of the event he’s done a total 180 and is blocking Oren’s attack, which makes the mission harder but helps the non-mission-critical civilians of the monastery. He breaks from the rigid thinking of “kill the bad guy and that’s all there is do it”, and gives his attention to the people he isn’t supposed to see. I think this is an indication of the direction we’re going to be headed in the future with Laterano events. The events aren’t going to get better - they’re going to keep being just as morally murky and complicated as in the past - but the characters are going to get better at handling it, and when they do, they’re going to actually start to change things for the better.

Goddamn that was a lot of writing for 1 AM. I still have a. Lot of thoughts on this event with stuff like empathy and Lemuen and Federico being an autistic icon(my beloved) but I’m going to leave things there, I think, because if I write for any longer my phone is going to crash when I try to post this. Anyway if you actually made it to the end thanks for listening to me rambling and I hope that made sense. Cheers.

[let-us-cultivate-our-garden]

I had a long argument with someone on whether or not stomping Belos before he dies was better than letting him die pathetically, and I asked myself if that is what fans really believe in... or if they would hail any Belos' death as the perfect one if Dana choose a different one?

They also justify the stomping as being part of horror-comedy genre and that Belos should not have any dignity what so ever because apparently letting him die in despair with no stomping is running the risk of making the audience feel "sorry" for him.

Honestly, these justifications make The Owl House feel more shallow. Like, why shouldn't the audience be allowed to feel sorry for Belos? What is the danger? That people would agree with Belos' views?

Or are we supposed to develop a black and white view of the world akin to a conservative view but inverted? And then hide behind the horror comedy genre to justify less drama? I hate to say it, but Nostalgia Critic is right about Belos being this strange outlier. The show seems to be afraid of actually doing a complex, tragic and yet irredeemable villain.

It doesn't make any sense to argue that Belos' death fits because of toh's genre as a horror comedy because the scene was neither played for horror nor laughs. At best, you have the image of Philip slowly being dissolved by the rain and then Raine's smug "that was satisfying" line. The overall tone of the scene is one of contempt as Philip tries one last plea to Luz only to be snuffed out (and weirdly validated) by the heroes. Its intent is to be cathartic for both audience (though as you know doubt know, YMMV) and the characters.

Frankly, despite its marketing, I don't see toh as either a horror or a comedy because it spends more time on slice of life stuff and high school teen drama and romance. And even when it does go for the horror and comedy, both are rather tepid. You want a real example of a horror-comedy for kids, then go watch Courage the Cowardly Dog or Invader Zim.

The reason why I argue the heroes validated Belos is because in the moment of his death, he clings to the idea that as humans, "we're better than this!" It's a moment of pathetic delusion that is appropriately met with silence but then it's ruined with Eda and Co. barging in with "Well, we ain't!" only to then prove his point by mercilessly stomping an already dying man to death. There's a reason why kid shows usually end with either the villain being imprisoned or not outright being murdered by the heroes. Evil has to die by its own hubris, not get killed by the heroes after the Big Battle when they're no longer a threat. I made a post about the importance of defeating a major antagonist twice.

Belos' death also doesn't work with a "Kill your oppressors" theme because the show isn't about that. The show barely spends any time showing why the EC is bad for the Boiling Isles and Eda is the only named wild witch we see getting harassed by them and even then, it's mostly played for laughs given how inept the coven scouts are (seriously, they're able to quit without fear of repercussions).

I think a reason fans are split on Belos' death is because of differing expectations; the fans who paid attention to Belos and the implication of his backstory and waited for every lie to come crashing down on him since that's what the show seemed to be building up to only to be unceremoniously ignored in the end were no doubt disappointed. Then you have the other fans who hated the character to the point that any gruesome death will do, regardless whether it made narrative or thematic sense or not.

Ultimately, I think the biggest reason his death doesn't work is because Belos fails as a villain.

Belos' status as a colonial puritan only works on a meta-level; it serves a cathartic release for marginialized people to see a representative of real world oppression beaten by queer characters as it fulfills the fantasy of finally overthrowing an oppressive system. The fatal flaw though is that none of this works on a narrative level because the coven system is either treated as a joke or simply a career path one must choose and we never see the disenfranchisement of wild witches. People largely get off scot-free opposing Belos, which undermines his credibility as both a dictator and a villain because no one cares about him until the plot needs them to. Luz doesn't even care about proving he's evil until Hollow Mind, which is halfway through season 2.

Belos as a villain only works if you project your own feelings and desires in wanting to see the Evil Christian/Evil Parent destroyed. While this is extremely satisfying emotionally, it does not make a sound story.

All the reasons why people like his death ("it's great the evil colonizer died so pathetically!" "omg, the white christian colonizer was killed by two queer people and their adopted son!" etc) are all meta reasons. And to be clear, it's totally fine if you thought his death was satisfying. But for many people, it did not work for a variety of reasons, including narrative ones. And that differing opinion should be respected instead of arguing some nonsense like "we have to make our villain as stupid/evil as possible or run the risk of people liking/sympathizing with him."

Belos should have died in a manner that connected back to his original sin: the murder of his brother. All of his lies and delusions and fear of being wrong should have played a part in the finale. He should have not died thinking he was right. He should have died realizing that all he did was for nothing. And that he is to blame. And that there is no one waiting for him back home.

[inkdemonapologist]

What are your thoughts on joeys character in batdr and his redemption? If you ask me I like what they did with him. They gave him redemption without excusing some of the bad stuff he did. And I think memory joey could grow to be somewhat of his own character. But the redemption isn’t perfect though. Even though I said the it didn’t excuse some of the stuff he did it felt like they swept the bad stuff under the rug. But who knows. Maybe they’ll fix this in future.

But enough about what I think, what don you think?

I’ve talked about this before – the TL;DR of that post is that I think this is, conceptually, a promising way to portray Joey moving forward to be better for someone new, but in actual execution it fails to do that.

TBH I’d love to stop categorising this as “redemption”… I've grown to dislike this framing, debating whether it’s a Good Redemption or a Bad Redemption or whether Joey is Really Redeemed or Not, because it assumes that Redemption™ is even what’s happening in this story. BatDR is a story where we’re given reason to believe that Joey may have had a change of heart. That’s it! We can question and analyse his supposed change of heart, but it doesn’t have to REDEEM HIM to be real, and I think measuring things on the scale of REDEEMED VS NOT REDEEMED is not only gliding over some pretty complex ideas of What Does Redeemed Mean In The Context Of Fiction (it is the sort of concept that it is so, so easy for people to have vastly different unspoken definitions for, making discussions of “he was redeemed” “no he wasn’t” especially futile), but also not really useful here.

For one thing, this isn’t a story about Joey's change of heart. Tbh, he barely features – Memory Joey can have a change of heart and work to be better if you believe/headcanon that he has OG Joey’s attitude, worldview, and personality flaws (which I do), but he has no crimes to acknowledge or repent for other than MAYBE reluctance to get involved. You might as well ask a person to repent for the crimes of their kins!! We hear about the choices original Joey made, and we can judge those choices postmortem, but he’s not here to redeem himself through this story; he’s dead.

As to the actual spirit of your question: The big thing. The really really big thing. Is that the CYCLE IS STILL GOING. It’s still going and it’s still bad and everyone in it is still miserable!! He didn’t fix that!!! The only evidence we have of ANY attempt to make it nicer in there is that he added Allison Angel, which like, “i’ve created a new life to keep you company in the torture dimension, so it’s less bad” is NOT ACTUALLY BETTER.

It’s important because it’s the only thing Joey could still try to do. He clearly doesn’t have any money to give restitution to his victims or their families, and I’m not gonna be a cop about demanding that he return the ink machine to the corporation that’s even more evil than he was. There’s not a lot of tangible steps he could take to perform penance for what he’s done, beyond fessing up publicly to his crimes and turning himself in and definitely going to jail, and like, maybe that would be a good thing for him to do, but if we’re going to hold Joey to that standard we really should be making the same demands of, say, Thomas Connor, or Sammy Lawrence in every Escape AU.

He can’t go back and un-ruin the lives he ruined years ago. But he didn’t do anything about the cycle, and that’s something that’s still happening NOW.

That was his responsibility, sapient life that he created to suffer and should have felt a huge obligation to – yet, we have no evidence that Joey was like, trying to fix it (in fact, he seemed PRETTY FOCUSED on spending his limited time creating and then raising Audrey), so every assertion that he was a changed man falls a bit flat, because being a sweet, loving person to your family and friends while running an endlessly looping torture dimension in your basement is actually quite sinister! Even Memory Joey asserts that the only reason he can’t fix the cycle now is because he’s not really the OG Joey who made it – does that mean the OG Joey could? Audrey says she wants to make the cycle kinder; could Joey have done that? Why didn’t he? We know from Allison's appearance in the original BatIM that the hellish experience of the first game IS the version that came from Joey’s change of heart, and it’s not great for literally anyone!!

Joey was a better person to Audrey, his daughter, and I do believe he genuinely loved her. If it were just that, it would be pretty good – Joey disappears from public life and stops obsessing over Bendy and instead of barging into his past victims’ lives to demand forgiveness, he just wants to be a better man and a good father to this daughter he created. That’s a compelling story, and I think it’s probably the best direction that “Joey wants to be better” could go. But once we realise he was actively ignoring suffering that he both caused and was responsible for fixing, it’s hard to take that love in good faith anymore. Joey being good exclusively to people that he likes who are doing what he wants isn’t anything new; Joey’s delight in The One Who Came Out Right feels less like a change of heart when we see Memory Joey echo his complete lack of sympathy for The One Who Came Out Wrong.

The reason it feels like Joey’s wrongdoing was glossed over isn’t because Joey needed to record an audiolog saying “I acknowledge that my actions were without excuse, and I’m deeply sorry for the harm I’ve caused” or whatever… it’s because there was something he could’ve changed, or could’ve at least TRIED to change, and he didn’t do it -- and it feels like we, the audience, were not supposed to notice that, because the story didn’t notice, either. It'd be possible to address it; like, what if Joey's change of heart instead involved him trying to fix things for the people in the cycle, and Audrey was created accidentally in that process -- then his love for Audrey would also be a picture of how far he'd come, taking responsibility for this person he'd brought into being and seeing her as a beloved daughter instead of a mistake. Or even just an audiolog where Joey says some kind of “oh god I can’t end it, it’s just going to repeat forever, what have i done, what can i do,” and it might actually feel possible to believe in his change of heart, to believe that he really tried as hard as he could and just never succeeded. But this huge thing is barely acknowledged. It's fine. He put Allison in there, so now it's fine! Don't dwell on the past!!

Anyway, like I said in my first post, if all this were intentional, I would LOVE it, conceptually. The idea of Joey Drew being a good father to Audrey who really genuinely loved her, but also was not actually a better person in a lot of ways, was still the same guy who was uncomfortable with guilt and glossed over his wrongdoing in order to prematurely Move On from the things that made him feel like a failure and focus on the relationship with his daughter that made him feel like a success, is a compelling, difficult character! The way so many people fell in love with Memory Joey just seems like, how everyone in original Joey’s life must’ve felt about him, the way they all kept believing in him despite everything, the way they wanted so badly to believe him. Impose this lens upon the whole game, and it all fits in. But since there’s no sign it’s intentional – and, with the archive, actually some signs that it wasn’t – it sort of sits weirdly. Memory Joey isn’t framed as an unreliable narrator. The tone of his final scene clearly isn’t MEANT to be dissonant.

---

So, uh, that’s what I think. I think the concept of Joey having a genuine change of heart and being better for his daughter could be good; I think the concept of Joey presenting himself as a changed man when really he is Just The Same, He Just Likes You This Time, could also be good. But he was handled clumsily enough that I think we didn’t quite get either thing, and, as usual, you have to fill in the blanks with headcanons and inferences to get one of these stories -- so which story you get kinda depends on which way you decide to interpret everything. Nothing tells us for sure that Joey didn't try his hardest to fix everything, so if you want that story, you can simply headcanon that he tried his hardest. But my personal preference is definitely for the reading where Joey believes himself a changed man because he really does love his daughter, and that's genuinely sweet!! but he remained the same man he always was, dodging guilt and responsibility in favour of a narrative that made him feel good about himself. I'm still quite proud of the frustrated little indictment Memory Joey gives him in that one creationship comic I made:

[bibibbon]

MHA CH 421 rambles

Ok so this was a chapter ok. Iam personally not a fan of what happend here but you do you.

I hated AFO's little monologue. introspection thingy and to be honest sukuna does it better. Look Iam critical of both jjk and MHA as they fail in their own aspects on certain things but dam I couldn't care less for AFO and his monologue I seriously couldn't. Yoichi as already dead and if AFO's goal was to be a supervillain from a comic and to reunite with yoichi then why not just idk get the doctor to do it for him or just die to reunite with AFO 🤷‍♀️. His whole thing about tragedy making people stronger or him not feeling anything didn't even hit well because his development sucks and him coming back feels repetitive anyway

Sero getting to respond to the things about tragedy felt so underwhelming I didn't like it. Sero throughout the whole and entire series lacked any screentime and development for him to be getting a big moment that should be given to another character feels like a horrible move. We seriously don't know of anything that has affected sero aka hurt him directly in the manga (aka something just him) so it all feels underwhelming and disappointing. Unironically, I feel like sero should of been one of those characters who left the story or just stayed as a minor character because hori is trying to develop and give him importance way too late into the story.

Where is inko?!?!?! So we see everyone heck we see the civilians, gran Torino, Kota and Eri all comment and hope for izuku to do something but inko his own mother isn't present. Now this probably means something bad is happening or will happen to inko but if nothing happens and she isn't present then dam classic neglectful inko strikes again ig or if they make it a gag that she fainted out of stress i will just hate it even more

I hate that this is something out of the endgame and if hori was trying to be like gege by making everyone join it felt rubbish. Iam not a fan and I mean it I HATE the whole everyone joining in to fight AFO together type thing and I just do. To me it's Izuku's time to shine and people take down villains and do their jobs in other areas at this point everyone is doing more damage to AFO than Izuku who hasn't even landed a hit on izuku. Also why is it that character like Todorokis who have had their big moments here?!?!? It seems like this is a fight where hori is trying to make everyone have a moment before Izuku lands the final hit which doesn't sit right with me. Like there are characters here who have already had their moments like jirou, camie, yuuga, asui, mina and way more but they're here to ... Assist in the fight have another big moment and make AFO more of a potato character then a proper scary villain

present mic is back which I love. One of the good things is that present mic is alive, it's good to have confirmation of that

Even though I think erasers writing is heavily flawed at least someone is holding Izuku. At least izuku is getting something , some comfort out here at least someone is holding him but dam this seems like a disservice all of this seems like a disservice to izuku. Like I wonder do the civilians feel guilty does anyone feel sad or guilty for having this 16 year old child fight something way bigger than him in the name of peace and other peoples safety?

I think the whole thing with Izuku getting that guy's shirt is rubbish and underwhelming. It just doesn't sit right with me, that guy's shirt would of probably been dirty as hell considering it's the only thing we have seen him wearing. Like @mikeellee told me it would of been more impactful if the shirt was given to izuku and that guy had a healing quirk or helped izuku more directly. Now I get that this is supposed to make the guy more likable and show that he ahs developed which we can see and dam hori can actually give some decent development when he wants to but it all falls flat and doesn't do much for me. Also I have seen someone say that izuku wearing this shirt and it covering his upper half is showing how he is losing his ability to be a hero and dam that breaks me.

I can't with the Izuku running to the battlefield and the parallels kill me (we haven't really developed/moved on from chapter one considering the story just loops around itself). Izuku running towards danger quirkless thinking that it's his job because people who were supposed to help and protect him failed. Izuku now quirkless with only the tiny and fading embers of OFA thinning trying to defeat OFA with the damage of kudos quirk still effecting him. All of this to protect others to help them something he never got during the past. This fight will probably parallel all might but all of this happening and I feel nothing all of it falls flat and I feel bad for izuku that's it.

It was a chapter and considering how I hated previous writing decisions I was also gonna hate on the developed/expanded writing decisions either way

[whinlatter]

What about the dynamic between Ron and Ginny? I don’t see too many people talk about them other than the one time he tried to sl*t shame her.

this is a lovely one, thank you so much anon. the two baby weasleys. two beloved bruisers who will squabble til the cows come home but who would absolutely take bullets for each other in a heart beat... it's the loves of my life, ron and ginny weasley.

the dynamic between ron and ginny is, as you say, deeply misunderstood, deeply underrated and, ultimately, deeply loving. the ron haters will say ron's a misogynistic slut shamer towards his sister: the ginny haters (these are, i fear, much more numerous...) will say that ginny is a nasty bully towards her big brother, the family/molly's favourite who basks in greater limelight and parental love than poor tormented ronnie. i think that says more about fandom's inability to a) remember we are talking about children/teenagers, b) remember that tripping your brother to humble him when he's being openly horny about his future in sister in law is praxis, and c) grasp that conflict between characters does not preclude the presence of real love, care and mutual respect in their relationship. ron and ginny's dynamic is interesting because it brings out each characters' insecurities and flaws (for ron, his anxieties about his reputation among his own peers and his position within his own family, his worry about his family's wider reputation and wellbeing, his particular overbearing concern about ginny's safety post CoS; for ginny, her resentment of being overprotected, her inability to stomach hypocrisy and tendency to fly off the handle when confronted with it, her righteous temper in general...) but i think if the characters were, er, real, and you were able to show them the fandom takes/discourse around their relationship they'd be like, er, what? obviously we love each other to death. we're very very close. we're mates who enjoy each other's company and increasingly hang out a ton and treasure each other as dearly beloved family, what are you on about? like, yes, of course they bicker. of course they fight. but those two, in their core, are good. i think as adults they'd be closer still.

(there's been a horrid fanon tendency in the last few years to make a lot of hay out of the idea that molly desperately wanted a daughter and mistreated ron, her sixth son, as a result. this is an allegation that seems to have its sole canon basis in what the horcrux screams at ron ('least loved, always, by the mother who craved a daughter'). looking past the fact that the horcrux is, er, expressing ron's fears not reality (in its next breath claims hermione is .... in love with harry lads! tiktok fandom discourse do not like to remember this!), i think it's very important that even if this is ron's fear - that his mum loves him less than his siblings and only had him because she was trying to have a girl - it doesn't actually ever inform any resentment or jealousy towards ginny by ron. ron and ginny fight, of course, they do, but ron never makes this apparent anxiety ginny's problem. ginny could be someone ron bitterly resents, someone his mother and, by 1997, his best friend prefers. but he doesn't ever do that. ron just really loves his sister and wants her to be safe, and yeah, sometimes that pisses her off, but it doesn't come from a place of envy or resentment, which, given ron has oodles of that in other relationships, is saying something.)

my favourite ron and ginny moments:

in CoS when ron's desperate to see ginny get sorted and then gutted that he missed it :(

in CoS when ron teases ginny sweetly about her crush on harry but as soon as malfoy does it is ready to commit bodily harm

in PoA when ginny's suffering with the dementors and she goes looking for ron (even though the last thing he told her was to go away, lmao. just sibling things. fuck off and die! but also i would give you both my kidneys)

in GoF where ginny really is trying not to laugh at ron for asking out fleur when that is plainly fucking funny

in OotP when ron gets one singular look at michael corner and decides he is NOT good enough for his sister and also probably a traitor

in HBP when ron and ginny are at war with each other but ginny names her pygmy puff after him and as soon as ron is poisoned ginny is the first person on the scene (with hermione) and does up poirot with harry trying to solve the mystery of her beloved brother's assassination attempt. he will be avenged!

in DH when the catalyst for the ron/harry fight escalating and ron leaving is the moment ron accuses harry of not caring enough about ginny........ king shit sorry!

bonus in DH when ron's like yeah ofc i didn't go home are you mad. fred and george would have been fuming. and ginny, my moral weather vane, would have run me through with the rustiest of pikes

thank you for humouring me with this ask game anon!

[imminent-danger-came]

SWK being so flawed is like one of LMK's strongest bits. I feel like a different show would just have him be infallible or have him be like a twist villain or irredeemable or something. But he's neither of those, he's just incredibly flawed. It's also interesting that even though Mei and Pigsy are critical of him, they're still shown to care about him.

All in all, hes a more complicated character than people give him credit for :/

I 100% agree!

Honestly, if Sun Wukong wasn't flawed I'd find him a bit boring. You remove his flaws and you remove the meat of his character. Even all the way back in season 1 you get the feeling he's withholding information and concealing his past ("Show me the real Sun Wukong! The old you would have leveled this whole mountain range to stop me!"), and that only becomes more and more prevalent as the show goes on.

Wukong is first introduced as a hero, as the King who defended the world from DBK. Next he's introduced as a mentor, planning to make MK his successor (which I think is pretty debatable at this point, as I've said I personally think he just needed an excuse to train MK).

Slowly we learn SWK is pretty terrible at both of those things. He's not the hero or mentor anyone thought he would be—he's not even the mentor he thought he would be:

Macaque: “Haha, you saw a story about a hero who got handed everything, who didn’t have to work for anything, and you thought you were the other guy? The second the hero got real power, he couldn’t care less about his friends.” [ - ] "You know, I meant what I said—you really are a good kid. A good kid, with a really terrible teacher." (2x07 Shadow Play)

-

Pigsy: "Back from what? Your vacation? No- what could have been SO important you'd leave MK alone to face that- that thing! You're supposed to be his mentor!" (2x10 This is the End!)

-

Sun Wukong: "I know I can never make it up to you. Honestly I- I never thought I'd live as long as I have let alone be someone's mentor—turns out I'm not very good at it. I guess what I'm trying to say is, I'm sorry MK, for all of it." (3x14 Destiny Fulfilled)

-

(he's staring sadly at a bowl of soup, never a good sign.)

s1 of Monkie Kid, as well as the Revenge of the Spider Queen special, establish a baseline. We meet Wukong as we're meant to know him—the legendary yet cheeky hero. Now that he's retired, Monkey King is training the next generation to protect the world and be the heroes in his place.

Right?

Well, just like our perception of Wukong, our perception of the role of the hero slowly degrades as well:

Lady Bone Demon: “Heroes? Please, you’re mere agents of chaos, the very thing I aspire to eradicate in this new world. No more destruction, no more disorder, I WILL HAVE PERFECTION.” (3x12 The Corrupted King)

-

Curse MK: "We’re just like Wukong. A fraud! A trickster! Destructive! Why would our legacy be any different? Actually, no no- the chaos and destruction we’ll bring upon the world will make Wukong’s past look like nothing." (4x07 Pitiful Creatures)

-

MK: "That can't be true! Monkey King's a hero he wouldn't just—" Azure Lion: "You saw it with your own eyes! His betrayal, his brutality—he took the only friends I had from me." (4x08 The Brotherhood)

-

Heroes aren't people fighting for the side of good, or even for what they think is right—they're agents of chaos. Destructive. "All doomed to play a role in tearing this world apart." Heroes are introduced as one thing, and then slowly revealed to be another.

Heroes, just like Wukong and anyone else, are flawed. They still make wrong choices. They still hurt people. Of course Wukong isn't a twist villain or irredeemable, because ultimately he IS a hero with plenty of the positive traits that come with that. But heroes are also flawed, and this is something I think is at the core of Lego Monkie Kid.

You can love someone, and that someone can do plenty of good, but that doesn't mean they're not broken, or that they aren't capable of causing suffering. This isn't something that only applies to Wukong either—pick any character and I'm sure you could apply this to them.

Now, all this to say that Wukong's two fatal flaws are his lack of communication and his self-sacrificial tendencies. Like Azure Lion says—he has a habit of keeping people at arms length, and more often than not doing that to protect them. These tendencies lead to his downfall.

So! Let's make some lists of where we see these flaws in the show.

Wukong's lack of Communication:

"Look, I'm going to come clean—um, I've been kind of watching you."

Leaving MK and lying to him during s2 (this includes lying about both going on vacation AND that LBD had returned)

Keeping his plan to stop LBD a secret during s3

"Where I got my staff!" "Got or took, right? You took it?"

Not telling the gang about the 4th ring

Other lies I'm sure have yet to be revealed (such as the truth about MK's origins, if that's the direction the plot's going)

Him and Macaque's past

Wukong's Self-sacrificial tendencies:

Leaving during s2 to find a way to stop LBD on his own

"What!? You're not going I'm going!" "Yeah so, here's the problem, you guys have this thing called mortality, so-"

Gravely injuring himself to get the samadhi fire Map

Blocking the brunt of the samadhi fire to protect MK in 3x10

Originally planning to put the Samadhi Fire in himself

Going off to fight the Lady Bone Demon alone

Protecting MK from the curse in 4x01

(and this post here that travels into theory territory)

Now, most, if not all, of these decisions lead to something bad happening. It's very in line with MK's words in 4x08:

MK: It doesn’t matter if I want to help people or not! Everything I do just- it just makes things worse!”

Wukong, even if he has a very questionable way of going about it, is truly motivated by protecting the people he cares about. However, these choices also hurt those same people. Not to reference samadhi fire Mei another time, but this is EXACTLY what she points out:

Mei: "We trusted you! All of us! How could you lead us into the fight without a real plan? Time and time again I've watched you put MK in danger leaving him to figure out EVERYTHING on his own. Don't you realize you're hurting the people who care about you the most?" (3x10 The Samadhi Fire)

But that's the point, isn't it? Even with all these flaws and after all these mistakes, Wukong still tries (he's very much like Mei in that regard):

Sun Wukong: “Point is, mistakes happen, but so long as you leave the world in better shape than you found it, then it’s all good. Right?” (4x01 Familiar Tales)

-

Sun Wukong: “We can’t change who we were yesterday or in a past life, or a hundred life times ago! We live with the choices we’ve made, for what matter is the choices we make RIGHT NOW! Only we decide who we are and what we do with the power we have.” (4x07 Pitiful Creatures)

-

This is who Wukong is. He's not a hero or a mentor, but he's someone who cares (and maybe that's what a hero is). That's the tragedy of his character, really. That's the tragedy of both him and MK. They're people doing the best with what they have, but still failing anyways.

"Nice hero speech bud, but I know better—deep in your hearts, you don't believe a word of that."

-

But people still love you anyways.

[venusssssssssss]

I rewatched ep 10 here are some thoughts:

We knew Jin took the video but he is an unreliable narrator, I don’t think he leaked it even if he said he did. Someone else leaked it but who? It would be such lazy writing because we, the audience, already saw Jin had Twitter on white mode and the video was leaked by someone who had dark mode. Why would the writers miss something so obvious? Anyway.

I understand Phee’s POV (if he’s being truthful): he did not sign up for murder nor did he know what he was really getting into. It’s also a very human thing to fall in love again and I liked that they played this card as well (not because I care for this ship or for any other ship tbh but because it such an earthling thing to do. “I love you despite of it all & i fell for you even though this started as a lie & we are both flawed & we are both guilty” bla bla bla. Love it and I will eat it up each time) Phee in this case plays the role of some of the audience (an important part of the audience is on New/Tan’s side regardless, while the rest is thinking this is too much and he needs to be stopped. There are also people who see them as simply gray characters and think that none are pure and aren’t taking any sides because they think it's pointless, but the writers don’t care about them imo. They want the first two categories to fight in the trenches about who’s right and who’s wrong and miss important details along the way - because we want so badly for some characters to deserve what they are getting).

White. We don’t know who White is and it’s been 10 episodes. This is supposed to be a slasher/thriller/murder mystery and the writers made sure we love him and hate his boyfriend Tee. But the actors said in several interviews that White is very similar to Tee and also described him as vain. Now why did they do that? The writers made sure the audience hate Tee. Now that could mean 1000 things. Maybe they are playing into the narrative: White is a colateral victim, Tee was a shitty kid but a kid too who was the product of the very bad adults around him & although he is flawed look how much he loves White. They already gave us fluffy flashbacks episode with PheeNon & Pheejin. Are we getting another one with TeeWhite this late in the show? I don’t think so. White remained spotless ‘till now but I feel a twist coming. He is probably related to someone very important or withholds some very important information from us, the audience. Are they gonna explain to us White and Phee’s little moment in the beginning of the show? That had to mean something. Some people say White is just a colateral victim. Because we saw already that New doesn’t care if people who weren’t directly involved die. So I see why people believe that as well. But White is one of the main characters so I don’t think he is just a damsel in distress.

Phee is also an unreliable narrator. He thinks New did all that but he doesn’t know all the details. Phee at this point knows less than the audience and is showing us what he thinks is true. What we saw half of this episode is what Phee thinks happened, but New is telling the audience nothing so we can't be sure.

New never trusted Phee. He already warned him 2 years ago, he already saw how his dynamic with Jin would play out, he predicted a lot of his moves, he used him but did not tell his real plan (and why would he? New wants the world to burn he has no time for feelings).

More people are going (and need) to die because this is a slasher. They have 2 episodes to kill pretty much everyone and I wanna be entertained. I want this to go out with a bang.

Also this is just my opinion and burning desire but i want a big reveal. I don't want the big reveal to be that Tan is New because it wasn't a big reveal for the audience (who already saw it coming) and it surely was not a big reveal to the other characters involved.

[howtofightwrite]

Do heist stories still work in the modern world, especially the developed world? More and more wealth these days seems to be intangible and electronic, and more and more of the physical stuff that's still valuable is marked and traceable so that even if you take, it's hard to spend or unload it anywhere. What are macguffins that a thief in today's world could still physically steal today and realistically hope to profit from (without the profiting getting him caught)?

Heists still happen in the modern world. Hell, the entire NFT “economy” crashed last year as a result of a multiple heists. The Axie Infinity hack last year saw over $600 million worth of crypto tokens stolen. There have been many, many, famous heists, and there is no sign of them slowing down anytime soon.

So, in the vague sense of, “is it realistic?” It happens today, in the real world.

What gets stolen? Anything of sufficient value is a potential target. Art is one of the classic examples, and it remains a tempting target. Any liquid asset is tempting, and no matter how good the tracking is, chances are, someone will find a way to defeat it. In theory, crypto tokens are impossible to scrub, as the entire history of that token will be publicly logged on the block chain... so, thieves were using places like Tornado Cash to launder their cryptocurrency. (Incidentally, the US Treasury has sanctioned Tornado Cash, as of August last year.)

How realistic is it to get away with a heist? There are a lot of unsolved heists. Both, of physical items, and also with a lot of crypto thefts in the last few years. Some of the latter are believed to have been the product of state actors (read: Hacker groups believed to be working for authoritarian states with few extradition treaties.)

Art theft is alive and well. Now, I'm not an expert on laundering stolen paintings, however, from the ones that have been found, a lot find their way into private collections. Art collectors, and brokers who aren't particularly bothered with the legality of a given piece will move stolen art. It's not going to command the prices it would on the open market. (If someone estimates a stolen painting as worth four million dollars, expect that the thieves will get considerably less than that when they fence it, and while the fence will make enough to justify their risk, they're probably not going to be raking in millions either. Once it's made its way to a new owner, it will likely go up on a wall in a private gallery, or get carefully stored in a vault, and never seen again by the outside world for decades (or longer.)

Of course art theft can also be sculptures, books, or really anything else.

When it comes to other things, any liquid asset is a potential target for a heist. Cash, precious metals, and gem stones, are probably the most obvious examples, though, certainly not the only options.

The heist is, generally, a fairly consistent (if modular) structure.

It starts with identifying a vulnerable asset. The reason for the vulnerability may be important for the story, but not for the genre itself. This may be as simple as, “the asset exists,” and the PoV character learns of it, or it could be a situation where an exploitable flaw in the electronic tracking for the item is identified.

Once that's happened, then the ringleader starts assembling a team of specialists (and, amusingly, it is almost always specialists), to fill necessary roles in the heist. Usually this is a mix of technical specialists, social specialists, and at least some muscle.

So, assembling the team is something very specific to the formula, and not reflected in reality. A lot of real world heists simply need bodies, and prefer to have as few people as possible involved. The reasons are twofold. First, the less people involved, the less ways the resulting cash has to be split. Second, the fewer people involved, the fewer people that can lose their nerve and screw up, or rat their partners out to the police.

Once the team has assembled and they have a plan (this is usually hammered out along with the recruitment phase of the story, though that doesn't make a lot of sense when you step back and think about it), then they identify the preceding steps that need to be completed before executing the heist. This involves prepwork, sometimes smaller thefts to obtain the resources they need, and other necessary activities. (Again, this is more of a formula consideration, than a strictly realistic one. Especially the perpetration of earlier crimes. Those crimes can easily result in errors that would lead law enforcement to identify the heist before it occurred, and also help with identifying the thieves. To be fair, this is sometimes handled intelligently while staying within the formula to build tension. As the police close in on the team before they've even gotten started.)

After this, the team goes to execute the heist. Expect several things to fail simultaneously, with members of the team scrambling to salvage the heist. So, I don't want to harp on this too much, but this is another one of those places where the formula structure is extremely unrealistic. When looking at real heists, these kinds of fumbles will usually either botch the heist on the spot or provide the police with the threads they need to find the perpetrators. From a narrative perspective, it makes sense, it help build tension moving into the climax. So, while it's not realistic, that's not the point.

Once the team has the item, then they need to extract with it. Sometimes you'll see this skimmed over, but, getting the thing you're stealing away from the people trying to arrest the thieves is a somewhat important consideration. Generally speaking, yeah, a loud extraction with gunfights and car chases is going to end with the police response scaling to the point where escape is impossible. Also, generally speaking, most writers have a difficult time keeping stealth sequences tense, especially when their instinct is to transition into action.

Once they're out, lot heist stories end. The thieves, “won,” and the climax has played out. From a writing perspective, this makes sense. They won, and everything from here is going to be downhill. The team will break up. The actual process of fencing the stolen goods are going to be fairly dry, and, alternately, the process of laundering any cash they may have stolen isn't going to be that interesting either. There might be some lingering character threads to resolve, but the story is over, at least until you start another.

The main purpose for dragging a story beyond the heist is if you're setting up a tragedy. Probably with the police hunting them down for whatever errors they made along the way. I know I've cited it before, but Michael Mann's Heat (1995) is an excellent example of how the heist structure can be turned into a tragedy. (It's also a rare case that reworks a lot of the formula into something more realistic.)

On the whole, I'd say the heist genre is as relevant today as it's ever been. The specific stumbling blocks your characters will encounter are different. That always changes, and your ability to tune your story to your setting is always important. From a strictly mechanical perspective, there's no difference from your character accidentally leaving his driver's license behind at the scene of the heist, and failing to identify a tracker concealed in the stolen object. Both of them create a direct line from the crime back to that character. In a very real sense, a lot of the particulars for how this plays out is simply flavor. If you want your heist to be a techno-thriller, then you can absolutely do that, though you will probably have to spend quite a bit of time studying modern security methods and technology, but you can do that.

-Starke

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[littlemoonastrology]

Aries and Libra - Sister Sign Dynamics

Aries knows what they want by nature and is very direct, ambitious and headstrong (with a sweet humanitarian streak!). Once an Aries placement falls in love, they FALL and will do anything they can to make sure their partner feels safe and secure in the relationship. They're very protective and loyal towards their loved ones (and people close to them), willing to support them and even sacrifice parts of their life if they care enough.

On the other hand, Libra tends to be quite abstract, polite and indecisive (but when they know what they want they have no issues going for it!). Whilst a Libra placement might be very attracted to certain traits (and may become pretty obsessive or have some kind of rose-coloured glasses), they may find it difficult to find someone they are actually in love with. Once they find this person though, they fall hard and fast - but they may even be even confused! When Libra placements are in love, they want to make sure they look their best and will try hard to look attractive and be polite.

Both of these placements are very excited by the other and are drawn together especially if they have mutual values! Aries and Libra both prioritise fairness in a relationship, making sure the other is respected and treated well at all times. Aries appreciates the physical (and mental) attractiveness of Libra, enjoying the feeling that they have something to protect and keep safe. This is great, as Libra is attracted to Aries' more masculine side and enjoys the feeling of being protected and supported - allowing them to feel safe and reassured. If both Aries and Libra have mutual values and treat each other with fairness/respect, this can be a fantastic relationship filled with growth and satisfaction! This pairing brings out the absolute best in each other....

...however, it's very important for this pair to maintain some kind of balance in the relationship. Otherwise, they can bring out the worst.

Aries is capable only of doing what they can do (but will go above and beyond) and sometimes this may not be enough for Libra. This may cause Libra to act out of character because they are getting less than they deserve (especially if this is long-term, Libra may start to get confused which causes a sense of inner conflict which they may not know how to deal with). In reaction to this, Aries may start to become quite passive (or aggressive!) as they feel disrespected, stressed and like they're being burnt out. If this conflict isn't sorted out, it's possible it could escalate into some sort of screaming match where both parties are disrespecting the other entirely. Aries may throw out jabs at Libra, whilst Libra may fully critique Aries. It's at this point the pairing realise they don't have any mutual values at all and they both part ways.

In order for this kind of pairing to work (and it definitely can!), it is VITAL that Aries and Libra have similar values, stances on morality, long-term goals and respect each other. Libra shouldn't demand too much from Aries and Aries shouldn't try to be too overbearing with Libra (as it may feel like they're being "suffocated" and have a lack of freedom). Both partners could just accept the relationship is this way - but deep down they may be quite unsatisfied in some aspect of the relationship. If they find this is the case - they can work on it together and learn some form of compromise to both get what they want, respecting each other's differences and personal lives.

Remember, you can't change a person. If you can't accept your partner's flaws or differences you may have then it is better off you both move on to find someone else more compatible for you.

~

{READINGS AVAILABLE}

~

Sister Signs (otherwise known as Polarities) describe a dynamic where two Zodiac Signs are opposites of each other in a Natal Chart.

For example: Aries is opposite Libra on the Natal Chart, making Libra the Sister Sign of Aries.

~

At first when these Polarities meet each other, there may not be much interest to begin with (maybe even some kind of dislike). Although if one decides to start speaking (perhaps over a common interest), both parties end up getting increasingly curious about each other - intrigued by how different the other is. As the connection grows, both parties may start to talk about deeper topics - eventually forming a relationship (or a deeper form of friendship). Both people in the connection in the beginning view each other as someone they can rely on and trust with advice.

However, the connection is not easy to maintain.

As the relationship/friendship continues, both parties may start to resent each other for their differences - maybe resorting to pettiness or start having lots of small arguments. They may also feel like they can't properly rely on the other, trust in the other and this furthers the rift between them. There may be some essence of passion between them still (if they are in a relationship, if this is more platonic take it as some kind of attachment) but these issues disallow the relationship to grow further - creating stagnancy.

Maybe to some extent too in order to get some kind of freedom or feel like they can be themselves, there may be some kind of betrayal involved (although this is in very unhealthy cases). Either way, some important boundaries may get broken and it is very difficult to revive this kind of situation (and often it is better to leave it and move on).

If they decide to cut contact or not communicate, both parties may start to develop some form of dislike/hatred between each other and avoid each other completely, not wanting the other involved in their life at all.

As time progresses and with personal development, eventually both people come to terms with the friendship/relationship that used to be - having learnt a lot and moved on.

~

For this kind of friendship/relationship to flourish, both Sister Signs must learn to accept each other's differences and not try to enforce control/individualism. Whilst they are very different, they should also try to find common interests and learn to view things from the other's perspective. Dedicate your time to learning about each other and don't let petty/small arguments become a big thing in your relationship - prioritise healthy communication.

With boundaries, it is also really important to respect those and lay down expectations in the relationship/friendship to see if there are any similar values in order to avoid breaches of trust. Avoid getting into a relationship or becoming best friends too quickly with your Sister Sign, get to know them first properly and take your time.

This will prove if you guys will be able to make it long-term and are healthy for each other.

~

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[sinnamonsters]

Why your favourite Sparklecare patient SUCKS!! (and also why they're swag!)

I feel like in the Sparklecare community that it's been too long that people put characters on a binary scale of "asshole who deserves to explode" and "awesome person who i love and cherish no matter what", because the characters in the story are nuanced. Every single one of them has done bad and good (minus Cuddles and Mr. V of course) in the story and more people need to see that, so I'm here to put in some of the ups and downs of all the main patients.

Barry Incredibly smart and willing to help! Throughout the story, he's been shown to help the others with his intelligence time and time again, and the main patients wouldn't be able to do nearly as much without him.

BUT he's also very argumentative and refuses to take no for an answer, and egotistical, believing himself to be above everyone else because of his aforementioned intelligence. He also sometimes acts like what he's doing isn't wrong when it absolutely is.

Uni Very kind and caring for her friends, she's seen time and time again doing what she can for others, even Doom, someone who everyone else sees as an evil monster because he does the whole doctor thing, showing that she absolutely doesn't hold grudges, and can give people the chances that they deserve.

BUT she's also rude and messy, making backhanded jokes towards others, and refusing to clean up her space, even when others are present. And, she's very possessive, how she acts about Barry is incredibly selfish, and not how someone should go about having a crush on someone.

Caroline Loyal and clever! While Barry might be the book smarts of the cast, Carrie would be the street smarts, if you will. She knows how to talk to people to get what she and her friends need, and can make a damn good plan, considering how many times she's probably attempted to escape the hospital.

BUT she gets upset very easily, and holds grudges too much. You can see her acting mean to other patients constantly over other things that they've done, and seems to be against Uni wanting to be with Barry purely because of the times that he's been rude or otherwise mean.

Hemera She does her best to help everyone else stay alive! Even though her methods may be less than ideal, keeping the others from getting killed is ultimately a good thing. She's also been said in the cast page to help others with tech issues, so it's safe to assume that she also helps people with other problems!

BUT, as said before, her methods of helping others can be seen as bad by others, and has caused harm before. She's also controlling, wanting everything to go exactly the way she wants it to, and that everyone would see things exactly as she does.

Jay One of the most helpful patients in the hospital, Jay is a nice, caring, and creative person that helps everyone in (almost) any way that they can! Very friendly, Jay has very few patients in the hospital that actively dislike them, and for good reason.

BUT, yes, even Jay has their flaws! They're seen multiple times standing by, not doing anything for the others, even when it's most important. Just because they aren't doing anything, doesn't mean they're not doing anything wrong.

Does this mean any of these characters are 100% good people, or that they're bad people who deserve bad things?

Fuck no.

All of these characters have depth and nuance, not a single one can be put under a binary label of "good" or "bad", they all have their ups and downs, as we all do. Hell, I would've even gone into more of the characters, if I had the time.

You've been an asshole at one point or another. Does that make you a bad person? Do you not deserve love and care like everyone else does? No. Obviously not. And these characters aren't any different in that regard. So don't treat them like they are. Thank you.

[lovl3igh]

@ viserys targaryen

i don't really understand what's the point of making viserys and daemon neglectful fathers in the show... yeah like daemon is around his girls a lot (especially baela in her childhood) and ig we could say he cares for his children with nyra, touching her tummy, searching for eggs, even clearly supporting luke and jace and their claim

but then we have rhaena's "father ignores me". we have scene when he hugs them after laena's death but it get cut so does it really count? we have him ignoring the fact his daughters were hurt during fight with aemond. he talks about dragonriders and unclaimed dragons and rhaena becomes uncomfortable (and it might means nothing for her relation with daemon but still). he ignores nyra in her labour (which is weirder when you think about jace's question. where is daemon? as if he expected him there. as if daemon was by nyra's side when she was giving birth to viserys and aegon, just like he was with laena. yes, he now plans the war to protect them but also he's wife may be dying). caring daemon - cut! comforting rhaenyra? cut! mourning visenya? cut! finding out about luke? cut!

it seems like his character as a father (i already complained about daemon as a husband lmao) was written very inconsistent, writers wanted to show he's a family guy after all but really damaged his relationship with his children, especially his own ones, as if caring for family claims were more important than themselves for him

less with viserys but still. he was never a good father, not even in the books but his character was damaged his too (especially with rhaenyra). we see him celebrating aegon's birthday, touching alicent's belly, watching his kids and grandkids training etc and after that we have "rhaenyra, my only child"?? dear gods (poppy milk blah blah whatever). not even commenting on his behaviour towards aemond and aegon on driftmark (yeah, one just commitet a treason and the other was drunk but dude wtf). helaena didn't give a fck about him while in the book she visited him regularly with her children. the fact he doesn't even know his daughter is a dreamer (that one also... ehh)? that he doesn't talk with aemond even though they both love history??

what truly bothers me that daemon is supposed to be a grey character but in the show if he wasn't in team black which is more "morally right" and also politically correct about claim to the throne we'd say he's fully antagonist cause of the crimes he commited and his good moments (as brother, father, husband) are really reduced

viserys and daemon are not good people, period. they have many flaws we could see clearly in books and show. i just can't understand why creators decided to destroy their characters as fathers (especially daemon) as if they needed to show this way that they're both bad men*. it's very one dimensional - you're bad man, then you're also bad husband, bad father, bad brother, bad friend. which is even more stupid when you see these big gestures that should prove otherwise (viserys coming to the throne room, daemon ensuring jace's claim or killing vaemond in nyra's protection etc)

*this confuses me much, viserys is shown as a "good guy" most of the time even after what he did to the realm, aemma or alicent, as peaceful king, family guy, who loves them all so dearly, but looks like him neglacting other children could in any way help rhaenyra being seen more as a rightful heir to watchers? idk unnecessary and speaks volumes, apparently as watchers we're stupid bc we don't see viserys is terrible (oh bc how could he be? he married 15yo instead of 12yo - i'm gonna write sth about these age changes too cause seven hells - such a good guy) after rping two girls and basically killing his wife at very least so they need to show us deadbeat father

[linkspooky]

To add to my previous post, I think a lot of the current debates raging in the My Hero Academia fandom on whether My Hero Academia has failed because at the end of the story there probably won’t be major changes to the society it takes place in are kind of silly. You see to remove any political message MHA is trying to send out of the equation. I think the big problem with MHA  is much simpler than anyone wants to admit. 

The biggest problem is that... it’s boring. 

It’s boring the same way Marvel Movies are boring. It’s swapped out what are potentially interesting and layered hero characters, for what are essentially characters with costumes and superhero powers and not much else going on for them. Enji and Hawks are the only heroes that have character flaws, and they are largely stagnant characters, Aizawa is introduced to us as a ruthless pragmatist and trickster mentor and he’s now just a generic “I love all my kids” mentor and the only thing he really has done in a hundred chapters is use his power. I don’t think this is a controversial opinion either, a lot of people didn’t like the deku alone arc, a lot of people think the current war arc is less satisfying to read than the previous one and it’s not well paced and it drags. 

You could say the kid heroes are interesting characters with potential for growth, but have you noticed the kid heroes have been consistently sidelined for the adult heroes who are shallower, just because they have stronger more flashy powers. Heck, Enji gets more screentime in the Todoroki family arc than Shoto does and Shoto is supposed to be a main character. I think the hero kids just not getting plot importance they used to get and being sidelined because they’re not as powerful as the adults is not even an MHA exclusive problem, it’s the reason I don’t like the Young Justie Cartoon, it’s a pretty common flaw in adolescent superhero stories. Because why focus on the kids when the adults get all the cool fights against the bigger bads? 

I think the reason people sympathize with the villains so much is not because they find them to have better politics, that’s probably a ex-posto facto applied reasoning (though I think that’s part of it). (Also if people are invested in the story in MHA because of the political issues it expressed, and they are disappointed because we’re not focusing on that, that’s a valid response too because Horikoshi is the one who set these ideas up as themes and then failed t follow through). (Or even if someone wants to critcize the way Hori dragged race as a metaphor into the story, they’re free to be displeased with how HOri handled it but also can still be invested in the story as a whole.) I don’t think the villains are sympathetic because they’re societal reformers, I think they’re just interesting because they have severe personality flaws and character arcs. Enji is the same character from the pro-hero work onward, the exact same character, he even does the exact same action his only true action to atone is to just defeat a big bad in AFO the same way he roasted the Noumu alive. You can’t say Shigaraki is the same character he was at the beginning of his arc, nor Himiko Toga, nor Dabi, nor Spinner, not even Twice and he has a tragic arc. Negative character development is still development, a stagnant character is dull a dynamic character is interesting. Maybe everyone is excited that Toga, and Dabi are at extreme low points in their character arcs, because it’s a change, and it’s compelling to see the extreme emotions they represent. Like, there’s so much discourse today on whether or not the League of Villains is a healthy friend group for one another, and like they’re not, they’re codependent and heavily flawed but that’s what makes them interesting dude. 

Compare that to Class 1-A which is a much bigger group of kids where they are all unconditionally supportive of each other, and a healthy influence on one another, and because there’s very little conflict in that group bond there’s also little development. The only reason Class 1-A is in fact something people are emotoinally invested in is because of the conflict they had earlier in their arcs, Bakugo and Deku is a long running conflict based on an unhealthy friendship and fixation they have on one another, it takes a long time for Bakugo and Todoroki to interact regularly as friends, Deku had to literally beat up Todoroki to get him to accept help or even admit he needed it, Iida would have straight up killed a man without Todoroki and Deku’s interference, and even early on Uraraka felt inferior and more selfish to her friends, and Iida also drew a line that Deku shouldn’t expect unconditional support and teamwork from Iida during the tournament  because they are compettitors competing for number one. 

Conflict creates depth which creates audience engagement. 

The Teen Titans are my favorite superhero team ever, and they are a heavily dysfunctional found family. In fact Cyborg even jokes at one point that their life is a soap opera. They are constantly breaking up and getting back together, and sometimes the group’s decision to collectively either neglect or enable someone has a bad influence on their personality (the second return of trigon arc comes about because no one was paying attention to Raven, heck, Raven is kidnapped by a cult and just left there for months because Donna was a poor leader). These character conflicts are also what makes them interesting as a group dynamic, I don’t think you should break the group apart because they’re not healthy, because there’s a better story to be told in them working through their dysfunction into a healthier group bond. 

I’ve said this a thousand times but I don’t think the hero kids are bad characters, I don’t even dislike them, I want to see more of them. Literally all I talk about on this blog are the villains, but the only fanfic about MHA I’ve ever written and managed to finish, is about Bakugo, Todoroki, Momo and Uraraka and in particular the great potential I see in those characters to be interesting, 

You could write a story where society does not change as a whole, but still circumstances get better for people because the kids are deciding to help people and be kind. Bleach is all about the fact you can’t really change the whole world or save everyone. Ichigo is just trying to protect his hometown and it’s my favorite shonen manga. I also think those stories matter just as much as like revolutionary fiction, because oftentimes people can’t change the world as an individual, and yet the action of helping people still matters, and I think also for a lot of normal people they tend to be paralyzed into not taking any action to help people at all because they believe that it won’t make a difference in the grand scheme of things. 

At the most basic level we haven’t even gotten that yet. We used to have it! I really liked the Overhaul arc, and that entire arc isn’t about societal reform, it was about several people striving to save a young girl because heroes are supposed to save people. We are thoroughly in shonen battle manga punch em ups and fisticuffs. And as a shonen battle manga it’s not even that interesting because the fights suck, they’re not well choreographed, we don’t know what’s happening most of the time, they’re incredibly crowded, there’s no tension because the heroes despite supposedly being outnumbered way outpower the bad guys. We are given the promise that might happen in the future, there is set up for the fact that these kids are going to as their final act in the story save the villains and sympathize them but all we’ve gotten between then and now is a whole bunch of fighting. And once again it doesn’t come from a hatred of the kids but a genuine desire to see more of them, I want to see Shoto’s thoughts and feelings about his brother, I want to see Uraraka try to be a rescue hero and grapple with the fact villains are suffering, I want to see Deku think about what saving Shigaraki actually means. What I don’t want to see is new super powers, kids trying out their super moves, or kids helping the adults in fight. 

And once again this isn’t to criticize people who enjoy MHA or are still emotoinally invested in it. Like I’m sure I’m going to get replies to this post “Why are you even reading MHA if you’re bored by it?” 

Like... because you can engage critically with something even if you’re not entertained by it? There’s more purpose to literature and media then just whether or not ti’s personally enjoyable? I think there’s still a fascinating conversation to be had, in what works in MHA, and what does not work. I like superhero comics, and MHA is a shonen mangaka’s commentary on how they perceive western comics to be. 

But yeah, I think the biggest most fundamental failing of MHA right now is that it’s a real snooze fest. As a comic book story, it doesn’t work because the heroes aren’t fun, it doesn’t seem to have much to say about the heroes besides very generic statements of heroes good. Heroes help people. Deku good. Deku saves. Deku punches. Deku wins. 

So like can everyone collectively agree to just stop yelling at people who are emotionally invested in the villains, or even want to see them win? And like I think people should be allowed to post salt on their own blogs privately or even try to like comment on why they think certain fandom opinions are wrong, but gosh some of these posts guys they’re just like acting like a vast majority of readers are stupid. PEOPLE AREN”T STUPID! In fact I think most people are actually really good at interpreting stories because we are exposed to stories from a young age, and we think and feel in narrative, it’s just a lot of people don’t have the tools to either analyze stories or express what they find engaging. In fact if you think someone is wrong, or even think they have a vastly different take then you’re own, I think you should ask them why they think that way if you’re really interested in a conversation with them. Heck Thy and I usually agree about a lot of things, but sometimes I’ll make a pretty extreme statement, and they go “Oh, I don’t think that, or that’s wrong.” And then I just walk it back and try to explain my reasoning and then even if they’re not convinced to agree with me we just both move on. 

People root for the villains because they’re underdogs. They’re sympathetic and flawed. They are also not stagnant as characters and we spend more time in their head. People aren’t stupid for being emotionally invested in them or reading the story wrong necessarily, so much as MHA has kind of failed to properly establish stakes and tension and make things difficult for the heroes like it should be, that’s just how engagement in a story works. There’s a reason that everyone hates the Yankees, but Cubs fans can stay fans for like a hundred years without a world series victory. I’m not even trying to directly insult anyone, or say that My Hero Academia is bad fiction, or not worth reading, I just wish people would chill a little bit and stop jumping on villain stans for liking the unhealthier or darker aspects of the characters. 

Everyone’s like “I love my murderous meow meows covered in blood” and then you actually say the reason you like Shigaraki is because he’s heavily flawed, and at times a vengeful, hateful little shit and suddenly it’s a problem. Spinner’s a codependent enabler, yeah it’s called having a personality with flaws. He wouldn’t even have a character arc if he wasn’t those things, he’d just be a lizard. The thing that is deliberately written by a flaw, called out in the plot, and he gets punished for. God has punished him for his sins. Right now he’s just lying on the floor nearly brain dead. Also sometimes characters don’t have like, big, operatic flaws. Like as murderous and nasty as Dabi is there’s like a catharsis and power in the way he calls out his abusers. Sometimes people are annoying and needy. I feel like more ficitonal characters should be annoying and needy! Sometimes the most interesting characters, are characters you like would hate to be friends with in real life because they’d just be too high maintennance and put-upon. 

I mean on top of that there are also stories where characters get worse, and only experience negative character development, and there are people who become engaged in those stories because of the dark turns it takes. 

You could say that the fandom downplays the darker aspects of these characters, but like that’s what every fandom does. Heck, don’t Bakugo and Deku have an extremely unhealthy friendship for a long time, that fandom likes to downplay because they want to see them in a much healthier version of their relationship? 

It’s also pretty much harmless. Beyond being frustrated with seeing an out of character version of a character being popularized, it doesn’t really harm people in any way that matters, you don’t have to yell at people for being wrong or even go out of your way to correct them. In fact, I think people having extremely different takes from the story that you do should be celebrated more. Isn’t it interesting two people can read the exact same events and interpret them in wildly different ways? Isn’t it weird, that we all have this collective agreed upon version of like “in character” and “Out of character” and yet people tend to either deviate or stay inside that framework. People also, tend to enjoy different aspects of the story. I don’t think the heroes are interesting at all, but if someone is a diehard hero stan and they like the heroes I’m glad they are having a fun time. 

Fandom is supposed to be a conversation, and like, you shouldn’t go out of your way to correct the people you’re talking with, because it’s a much more fun conversation to ask why people think the way they do and try to understand that then to just tell them they’re wrong and end the conversation there. The reason I have this blog is not because I think I’m right and other people are wrong, I just like to talk to people about my thoughts on the comic books I’m reading, and then other people ask me why I think the things I do and I try to explain it. 

Oh and by the way I’m not talking about people who disagree with me specifically. Like, Class1akids wrote a response to one of my posts. I think they have every right to disagree with me and they were pretty professional about the way they expressed their opinion, I follow them and like their takes because they’re good at stating the reasons behind what they think. I just didn’t interact with it because I was feeling lazy that day and didn’t want to type up a big response. I’m just in general asking people to chill and be nice and have fun. 

[spitblaze]

Look Octopath Traveler 1 is a game that has left a very strong impression on me and one I love dearly and one that I'm well aware is gonna bounce off of some people. That's fine, not everything is for everyone, but instead of hearing 'this why this game sucks' from someone who doesn't like the game I'd rather you hear 'here's what I love about it' from someone who does, especially because of how much of my enjoyment is found in the parts that some people hate.

So, mechanically speaking- Octopath Traveller is REALLY fun, but you need to actually engage with it. For some people, combat in turn based rpgs is just overleveling and then mashing 'a' until you win. You can't really do that with Octopath- much like a lot of my other favorite RPGs, you NEED to employ strategy in order to succeed. You will of course eventually reach the point where you can breeze through enemies, and the level progression of 1 is PAINFULLY slow at times, but that just makes it all the more important to think strategically.

Narratively, it's not like...the deepest thing in the world. That's fine, not every RPG needs to be operating on a million levels of narrative depth. I wouldn’t call it 'shallow' either, but the meaning found in any given narrative is fully subjective. What REALLY captivated me was the characters. Their personalities are very distinct, and if you're the kind of person who likes to fill in the gaps yourself, there's ample room to do that. The lack of meaningful narrative interparty connection in 1 is frustrating and off-putting to a lot of people. And I get it! That's easily one of my biggest gripes with 1 narratively, with such effort put into character writing and not even implying that things connect until the post-game secret superboss. But, like I said- if you're the kind of person who likes filling in the gaps yourself, it gives you MORE than enough to imagine their interactions and their lives outside of what we see. The hole doesn't feel like a staring, gaping flaw to me and a lot of others- it feels like it’s inviting you in, to use your imagination and consider narratives between characters that the game doesn't provide itself.

And like...I get that that's not everyone's bag. If you prefer narratives with less of those gaps, Octopath 2 is an upgrade over 1 in like...every conceivable way. I still love 1 dearly, but like in the same way that even though Pokémon Emerald is my favorite I more than recognize that it's FAR from the series peak. If the mechanics of Octopath put you off too...honestly,.play Live A Live. That's the game it's inspired by, and the team that made Octopath did the remake of it. And if you're like me and love the room to use your imagination that Octopath 1 has...might I recommend the Etrian Odyssey series?