#while not having much involvement with the main plot/not being the ones to push the plot forward

[perplexingly]

I hope in KCD3 devs will discover that women can have active roles outside of romances too 🙏

[legendary-assassin-stance]

oh i'm sorry, i didn't realize we were taking moral standing points from the asura now. y'know. the race that full-hog experimented and ripped apart sylvari even after knowing they were wholly sapient beings (and it wasn't even inquest! it was regular fucking asura! the arcane council most definitely okayed those experiments! never mind the fact that the council TO THIS DAY fucking openly allows inquest to do as they please so long as they don't cause trouble in rata sum) and have done little to nothing to apologize for that fact to their sylvari allies.

but no, you're right, the humans are the worst race in tyria just by way of existing and trying to find a place for themselves. how could i have ever thought different?

[theresattrpgforthat]

Character Friction: On “Asshole Characters”, or Shitty Little Guys.

A while ago I floated a few thoughts I had about “asshole” characters in the Indy TTRPGs community. I floated these questions because I had been listening to this interview between Klaus von Hohenloe of The Dungeon Newb's Guide and The Panic Table. In particular, Klaus mentions that some games don’t allow for player friction, and in games where this is the case (cough D&D cough), it culminates in a horrible experience for all involved.

To illustrate, I’m going to talk about some experience I’ve had with my own play groups.

Art from Last Fleet, by Vicentius Matthew.

It might be shocking to hear, but I’ve played D&D once or twice. I remember being in a campaign with two players who wanted very different things from that game. Player A wanted to bring their character on a deep emotional journey, while Player B wanted to act as strategically as possible in pursuit of their character’s benefit, often to the detriment of other members of the party. My own character wanted to track down leads to a mystery that mattered to her, but not really to anyone else. This often led to frustrating moments where characters might not communicate as much information to the party as they might have otherwise, and in other cases one character’s actions could pull the entire party’s journey off-course.

The three of us all played together in a completely different game, three years later - Last Fleet. Let me tell you, the character interactions were completely flipped on their heads. Player A got a dramatic emotional arc around an NPC who was integral to the main plot. Player B got to pursue their own agenda, often in ways that worked against the efforts of other PCs. As the GM, I was given tools that actually encouraged both of these moments: both pushing Player A to wrestle with their relationship and implicating Player B as a suspicious person very early on.

A basic move from Last Fleet.

There are a number of reasons this worked in Last Fleet and not in D&D. One, Last Fleet playbooks often encourage players to keep secrets, work against the benefit of the crew, and fuck up their relationships with each-other. Two, Last Fleet has something called the Pressure mechanic. This is both a resource and a time bomb: you can mark Pressure to improve your chances of success, but hit your cap and your character has to do something to relieve their stress - and that choice is usually rather detrimental to the ship.

Finally, Last Fleet’s a different kind of story. You’re not playing heroic adventurers fighting monsters and clearing out dungeons. You’re playing the last desperate strains of humanity, fleeing an alien threat that has the power to infiltrate your fleet and resemble the ones you love most. Last Fleet is all about how a high-stress situation can lead people to making poor decisions, and, should you desire, it can also be about how people are sometimes forced to rely on each-other in order to get through a harrowing situation.

When I compare these situations, I don’t think we had bad players at the table: we just had the wrong kind of game for the story that the players wanted. I suppose I haven’t necessarily played enough D&D to say that it can’t allow for compelling, flawed characters - what I like to call “shitty little guys” - but I certainly don’t think it’s a play culture that accounts for the diversity of player goals.

More to the point, I find myself really drawn to playing flawed characters - both with them and for them. I love my over-perfectionist superhero in MASKS who lashes out when her friends don’t meet her standards. I adore my Thirsty Sword Lesbian who doesn’t know how to flirt or how to process emotions. I’m having so much fun watching play-testers pick up their various monsters in Protect the Child and demonstrate each character’s struggles when it comes to relating to a kid. I think it’s fascinating that in Changeling: the Lost 1e, a Fairest is rewarded with a discount when they use their Contracts of Reflection to spy on people that they love.

Contract of Reflections, Equinox Road Sourcebook, Changeling the Lost 1e.

I’ve personally seen the most leeway for character friction in PbtA games, like Apocalypse World, Urban Shadows, and Apocalypse Keys. When I brought up the question in the Community post, I asked folks for other examples of playing Shitty Little Guys. Their interpretations were really interesting, and far broader than my initial scope.

@nebmia mentioned that by giving your characters “unpleasant” abilities, it will incentivize them to use those abilities in unpleasant ways.

@goblincow has a lot of thoughts about creating little guys who aren’t just horrible, but are also in horrible situations - which gives license for the players to endanger their characters in the pursuit of mischief.

@airkseablade brought up Tenra Bansho Zero, and how it uses something called an “Emotion Matrix” to randomly determine how a player character might react to meeting a new person, as well as “Fates”, which are goals that each player is rewarded for playing towards, but mostly based on group consensus.

@willknightauthor talked about Wraith: (The Oblivion?), and how each archetype available to players has a part of themselves that pulls them towards darker choices.

It turns out that we really like playing characters who are mean-spirited, greedy, and struggling to get what they want, and we have a lot of different ways to make that happen. It reminds me of a common piece of advice given to writers when they’re writing a novel - you want a character who’s flawed, because those flaws can be used.

In games like Trilogy or TSL, you might want those flaws because you want to see your character overcome them. In games like Mothership or Cairn, you might want those flaws because then it makes it easier to push your guys through a meat-grinder. In games like Hillfolk or Apocalypse World, you might want those flaws because you want to see just how much well-meaning or desperate characters can fuck each-other up, given the right circumstances.

So what’s the point of all this? What am I trying to get out of this?

When I hear stories about horrible players, the experience I’ve had at my tables makes me want to approach these “trouble” players with a bit of grace. Perhaps these “trouble” players simply want something that is a challenge to provide in a game like D&D, but in Mothership, Urban Shadows, Apocalypse World etc., they might find their choices welcomed and encouraged. And if you've found yourself being accused of being a "trouble" player because you like to a cause drama, perhaps these games might be more up your alley than you think!

Consider playing a game with horrible guys who suck today!

[tumblingxelian]

Near Uniquely RWBY - Main Characters

I was chatting with my sibling the other day and we were joking about the fact in 90% of the media I consume I generally don't like the main characters.

Not in the sense I necessarily hate them, but I generally don't find them to be the most interesting, engaging or enjoyable person on screen or page. Instead I tend to gravitate towards secondary or minor characters and even minor antagonists before any of the big names.

Some of this is rooted in my often rooting for what tends to feel more like a real underdog or characters that feel like they got dealt a bad hand by the author unfairly. But its also that in a lot of media the main characters tend to immediately, slowly or quickly go into personality lockdown.

Becoming less a personality and more the embodiment of expected tropes and themes, or they lose their unique edge or circumstances because the plot demands one benefits or personality changes be heaped on them to keep the tone and story going.

Some examples of this would include say:

Ichigo from Bleach, with him and his supporting cast being very unique and super interesting during the initial arc. But as Soul Society came in, he became a much more standard Shounen determinator a the expense of his personality and his supporting casts were largely watered down & left behind.

Or how in Naruto or Dragon Ball the whole underdog/hard worker aspect of the characters felt undercut by legacy power ups and an endless wellspring of natural talent, alien biology, ETC.

I know these are just two examples, but they cover the general gist of what I mean.

So, what makes RWBY different?

Well, off the cuff, is simply that the four main characters are women.

I've often felt simply putting anyone other than a cis-het guy into the main character slot of say, a battle Shounen, or Isekai stands a good chance of making it more interesting by default. Even if the author does nothing with it the audience reaction would be different because the MC would be an exception to the norms.

In that vein, while one can call RWBY some sort of Shounen or adventure fantasy or magical girl show the main four are unique in how they manifest on screen at the very start. From how they participate in action, to how said action is structured and framed and the kind of adventures and topics they tackle.

But being unique alone is not enough, that would simply make it more interesting than the bog standard but what elevates RWBY is the execution and exploration of such elements and its characters.

Going into every aspect would be difficult, but in light of what I said above would be how each of the main four are initially presented as familiar archetypes, only to subvert or deconstruct them.

Ruby is a peppy goth who just wants to be normal but has inborn powers from her mysteriously vanished mother and serves as a beacon of optimism to others.

Except Ruby's version of normal still involved fighting death monsters with a sniper rifle scythe and she is actually one of the more ruthless characters. Her peppy persona obscures that she can have a pretty vicious temper when pushed and has displayed strong bloodknight tendencies.

Her unrelenting optimism and desire to fix the world is a complex mix of true beliefs, coping mechanism for trauma and her grappling with positions forced on her against her will. Her inborn power is potentially useful but also not that much of a game breaker outside specific contexts & said power sure as hell didn't save her mom.

Weiss Schnee is the Tsundere heiress of a powerful family, with a haughty attitude that hides her loneliness.

Except the "Tsundere" is more of a defense mechanism born of coming from an abusive home where every member of her family manifested a different trauma response. Freeze (Mother), flight (Sister), Fight (Weiss) Fawn (Brother).

Despite her upbringing & some projected trauma, she's far from ignorant as to the worst excesses of her nation early on, and her journey was more about overcoming the impacts her abuser had on her and finding a family in her team that let her be safe enough to let down her walls. Also despite being "The ice queen" she's actually one of the characters least inclined towards more ruthless actions and is extremely empathic.

Blake Belladonna is a mysterious and silent rougish woman, something of a shrinking violet even, but she carries with her a wounded heart thanks to her old flame, the edgy Adam Taurus.

Or more accurately, Blake is the daughter of activists and politicians who represent the worlds main discriminated against minority. She spent her youth on the road as a protestor and where even her father could be nearly killed by a lynch mob. She was targeted & groomed by a man who claimed to want to fight the same injustice she did but who was only interested in using the movement to grow his own power.

Her initial aloof-ness was a trauma response to having spent years under his thumb and overcoming him and the idea she had to 'save' him was one of the main corner stone so her character. Also, despite the "Revolutionary fighter" backstory she like Weiss is much less inclined towards ruthlessness than her team in large part because her past experience with it.

Yang Xiao Long, introduced as the fun loving big sister of Ruby & boisterous bruiser of the team who loves to party & flirt.

Except no, Yang was parentified as a child and forced to raise her own sister as their family unit fell apart. Her "Party girl" persona was outright framed as judging a book by its cover in her own trailer and something she put on or took off as she needed.

She became disabled over the course of the series run as well as entered a Sapphic romance with her partner Blake. Unlike the stereotype of characters with her design, Yang is actually an excellent student, fighter and engineer/mechanic. Plus much like her sister she tends to be of the more ruthless and pragmatic persuasion despite being from the "Normal" background.

Character Conclusion

So, all the characters break out of their initial archetypes, which already makes them more interesting. What's more, these sorts of characters just being oput together and made the main characters rather than circling a dude is in of itself unique.

But there are other aspects of the writing which endear me to how it handles the main characters and what keeps them interesting.

Anger & Violence

See, while in various media women do express anger at times it is still often far less so than men. What's more, often women's anger tends to be presented in... Less flattering lights.

With the anger obscuring fragility while in a man it conveys strength. Or implying a sort of hysteria rather than an appropriate or controlled response. Or worst of all being demonized in general unless its rooted in or coming from traditionally feminine places.

The same tends to be true when it comes to violence with a lot of media either trying to find some way to make women in battle less... Brutal than their male counterparts. (More more like fanservice) Along with rarely letting women fight men, unless they are a special exception to the norm.

RWBY does not do this.

The main characters, hell, all the women in the series express a multitude of different forms of anger and violence. They battle men, they battle each other, they battle monsters all with no distinction nor fanservice shot in sight.

What's more though is that said anger and violence are not presented as, for lack of better words, wrong. The writers don't draw overt attention to this fact, they don't hang a big sign up saying "Girls can fight & shout too" or the like.

They just present these women with a range of emotions, motives and actions that are treated according to what fits the theme of the show rather than hewing closer to gendered lines.

This isn't to say anger & violence are lionized, but more that the experience and usage of them is not demonized or undermined because of the characters gender.

I suppose what I am saying is that CRWBY by and large lack double standards when it comes to exploring these things that I see so often in other media. The women in the main cast, among the villains, both sides respective allies and beyond can be flawed, or angry or do both good and terrible things.

But the writers are always treating everyone's pain as equally valid regardless of gender or situation. Which means that the situations that cause anger exist within a tone of respect that forms the depiction and framing of anger itself.

Which is just something I really enjoy.

Thanks for reading!

[olderthannetfic]

Ok serious question for anyone who's done D/D or has been into RP'ing. Let me ask the question first: How can you best break up a relationship in a D/D campaign without hurting the other's feelings too bad?

Story: I've been in this D/D group for some time now. DM asked if we wanted to be paired up with different NPC's or with each other, it could become plot relevant or it might not. Reason was because some of the players are newbies and seemed interested in playing a bit of romance or a "bond pact"* since the campaign has a romance plot run through it.

Two of the newbie players decided they'd play romance between their characters. Call them Alfi and Melli, just to have names.

Recently Melli mentioned being slightly uncomfortable with the idea of the romance between Alfi and her character, because Alfi kept making comments outside of the D/D game, using Melli's name and alluding to romance. Melli is now asking how to best tell Alfi she'd like to just not do the romance, and maybe either stay single, ask the DM for an NPC to romance, or something else, because it's a bit too much for her.

-Example: My love, Melli! / Me and Melli are going a adopt child. / Me and Melli are going to get married! -Note: The main problem is that Alfi isn't sticking to the D/D romance, and is bringing it into the real world and involving Melli as a person.

It was also noted that Alfi has been kinda playing outside the plot, or being completely uninvolved. Eg: Here's a puzzle do it. The rest of the group will be trying to solve the puzzle, while Alfi makes their character do nothing, or just completely leave the scene.

One infamous scene was us trying to catch a cultist from escaping so we could question them. Alfi basically stood right in the cultists path so could have helped grab the cultist quickly, instead Alfi had their character ignore the plot literally just leave the room. As in literally just... leave, and let the chase finish up between the rest of the party, before coming back like nothing happened, and then making weird comments about one of the NPC characters. Apparently the DM intended for it to be a less than 2 min run and grab, and instead we had to spend 15-20 min running after the cultist.

--

I'm not experienced here, but it sounds to me like the DM needs to talk to Alfi about a whole range of things. I'm sure that will be awkward, but not doing it will let this get worse.

Alfi is clearly not playing in the spirit of things. That could be due to social cluelessness. It could be an attempt to push boundaries and see if the group is easy to impose on. It could be backseat driving and disapproving of the DM's decisions. It could be "I'm bored when we aren't doing campaign things that are all about me". It could be genuine and unreciprocated interest in Melli. There could be plenty of different things going on.

[0aurelion-sol0]

My Arcane Season 2 criticisms:

Things I actually disliked:

How the Hextech plot turned out, I though it was very badly executed especially in terms of Viktor's evolution through the whole show. Lack of proper explanation about what was actually happening, unnecessary and horribly executed twist at the end, clumsy established rules and dissapointing payoff for anyone involved in this plotline. Final battle was cool and I like the Commune's designs but dear god, was this storyline confusing...

Ekko's community plus the tree's state at the end of the show. You really couldn't put a 15 seconds shot of the community being well and tree being ok ?! Seriously I know you had to make choices given it's animation but come on now... It was like one of the main driving points to stop Hextech for him & one of the safe haven of Zaun & Piltover and it's completely shoved to the side but no, we have to see minutes of Loris, Steb and Sky being there just being a representation of our characters' inner conflicts as if them doing it and/or saying it out loud wasn't enough...

Ekko convincing Jinx to not kill herself by telling her what he experienced, Jinx rallying the undercity to protect Piltover & Zaun from Noxus & Viktor and a proper conclusion to Sevika's story regarding all of this. WHAT THE HELL ?! We needed to see this, this is so important & it's completely ignored. IN WHAT world, did anyone think cutting this was a good idea ?! We needed to get a proper closure & development about Ekko & Jinx's relationship which was already thin to begin with. We needed to see Sevika affirm what she truly thought about Jinx and a moment about Isha regarding the two of them even if Sevika wasn't super close to the kid, we needed to see Sevika get to see the Undercity finally rallied together after spending the ENTIRETY of the show trying to do that and see how that whole thing came about for them to fight with Piltover. It is ridiculous to that me that this was cut... It was so important!

Things I didn't necessarily dislike but I have mixed feelings about:

Jayce not getting a single scene with his mom. I know she was there at the end, in the crowd, mourning him but come on, not even one scene with her before the end where she could allow him a form of reflection and comfort before putting his life in danger or after, I don't know... DISSAPEARING FOR WEEKS IF NOT MONTHS! I know you could interpret it as Jayce being so lost on his mission that he forgets about her and her importance but she was one of the reasons they ended up in Piltover in the first place. It's of course not as vital to the story but it could have provided some breathing in this fast-paced season.

Vi's character arc this season. While there are some part that I like, I feel like it wasn't explored as deeply & as fully as it could have been. The foundations are there but aspects like her relationship with Vander, violence and Zaun could have been pushed far more than they were in this season.

Caitlyn's arc and how the most important bit happened off-screen, again, just like with Vi, the parts it would have been better to see or being more developped weren't as much as they could've been. I am not of the conclusion she didn't face any consequences or was let go by the narrative of the things she did, but her coming to terms with her actions happened mostly off-screen and that is a shame because it was one of the more interesting parts of Season 2.

Singed's characterization. Now I understand why he was developed the way he is, in terms of what he represents for Caitlyn and for the show, but I don't think it was as compelling to me to have him be yet another parallel for the themes of the show or being a reminder of them was completely necessary for me. We got it the other times, I understand why, it had it's purpose; I just prefer how evil Singed was in the original lore & the story he had back then. I understand humanizing antagonists & reinforcing the theme of your story but sometimes it's nice having an element that's a bit of an outlier and explore other themes to give some variety to the story.

[pessimisticpigeonsworld]

D&D saying that one of their favorite plots from the books is the Boltons in Winterfell is a massive sign of their sexism. Now, for anyone one else, I'd probably not care, in fact, I'd agree it's a very interesting part. However, when it comes to the showrunners who needlessly wrote in excessive rape and violence against women, I see it as a red flag. That's compounded by the way they wrote it.

From the beginning of the show, D&D sabotaged the storyline by removing Jeyne Poole. Keep in mind, ADWD was released in 2008, while GOT premiered in 2011, meaning there was no possible way for D&D to not know everything necessary to bring about that specific plot. Add to that the fact that GRRM was heavily involved in season one, them blatantly ignoring Jeyne makes even less sense if they truly cared about adapting it properly.

Knowing this, that D&D themselves sabotaged their own story, the way it was handled makes a bit more sense, though not nearly enough. Without Jeyne there to play the part of fake Arya, a new bride for Ramsay was needed. Sansa was D&D's favorite character, they were unsatisfied with the story GRRM had written for her, they wanted more screen time and plot relevance for her. It seemed like making Sansa take Jeyne's place was a good solution to both these issues.

Except it wasn't. Littlefinger sending Sansa out of the Vale to marry Ramsay makes no sense. Not only is Sansa the object of Littlefinger's obsession, a replacement for Catelyn in his mind, she also was important to Littlefinger getting the Vale on his side (in the show). She was charming the lords and knights, balancing their intense dislike for him with their desire to help/protect her. Not to mention she was his only alibi to save him from accusations of Lysa's murder. Sending her away from the Vale harms Littlefinger's plans. She also would definitely not be "protected" from Cersei; after all the Boltons were loyal to the Lannisters and hated the Starks, what's to stop them from killing Sansa or handing her over once the Northern lords are more settled?

Speaking of the Northern lords, D&D removed the Northern Conspiracy. Throughout the book plot, the Northern lords are plotting to save Arya and depose the Boltons (in a nutshell, it's actually much more complex, but I'm not going into that rn). It's an excellent expression of how the Northerners loved the Starks and hate the Boltons. In the show, the lords are a bit disgruntled, sure, but they have no interest in deposing the Boltons and saving Sansa.

Another major part of the storyline minimized by the show is Theon/Reek. Theon's struggle with identity is a major part of his character throughout the series, and ADWD is no different. He's been stripped entirely of his identity by Ramsay's torture and Theon's own choices. Part of his arc in this book is discovering himself apart from the Starks and the Greyjoys.

That's definitely not what the show did. As I said earlier, Sansa is D&D's favorite character, so naturally she became the center focus of this arc, while Theon was pushed aside. He's essentially reduced to the method of Sansa's escape and goes on track to return to his pre-season one perception of himself: a Stark. This is a massive disservice to his character, Theon isn't a Stark; his life with them is important to his storyline and will definitely inform what he becomes, but it's not the true culmination of his arc. Basically, Theon was turned into a side character in his own story. It's through his pov we see this story, he's the character most tied to Ramsay. Obviously Jeyne is important and a main character in her own right for this arc, but she is not the central character we see the story through. So why is Sansa? She has no stake in this story, Jeyne is forced there after being sex trafficked and Theon is a captive.

So what does this leave for the show version of the plot? There's no conspiracy, Theon's pushed to the side, and politics and overall story are sacrificed. Well that leaves torture and violence against Ramsay's bride. Without the many moving parts of that storyline, it's just a story of a woman being abused horribly by her husband and eventually escaping. However, the escape isn't even the main aspect of the story focused on, that's always the abuse. It's also purely Sansa's abuse, not Theon's or the many people tortured and murdered by Ramsay, Sansa is the sole focus.

So basically, D&D took a plotline that's filled with the inner workings of Northern politics and the complexities of battling identity loss and reduced it to another excuse to show a woman be raped and abused on screen. The desire to turn this stroy into another way to make Sansa suffer is disturbing, and to make matters worse she fucking thanks Ramsay later on?? This whole storyline in the show is disgusting and yet another sign of how sexist D&D are.

[clean-casual-analysis]

When the villain is a philosophy

When you think of the word antagonist, the first thing that comes to mind is a villain. This is completely natural, given that stories of good vs evil tend to follow a heroic protagonist fighting against an evil antagonist. But once you get into the definition of the word, a person who actively opposes or is hostile to someone or something, moral alignment doesn’t dictate whether a character should be a protagonist or an antagonist. The most recognizable examples of this would be the likes of Invader Zim and Megamind, characters that are villainous in nature but are still the protagonists of their respective stories.

But villain protagonists and hero antagonists aren’t what I’m talking about here. I’m talking about the antagonists that aren’t entirely focused on, at least in the traditional sense. Antagonists that, despite being the source of conflict in the narrative, don’t actually show up a lot of the time. These antagonists, while characters in their own right, are more symbolic in nature. The protagonists of these stories aren’t just trying to defeat the antagonists, but the rotten philosophies that these antagonists have. The beliefs that push the antagonists to do their villainous acts.

White Diamond: Uniformity and the Status Quo

In the entirety of the original Steven Universe series, not counting the movie or SU Future, White Diamond appears in three episodes out of one hundred and sixty episodes. (Two if we don’t count White Pearl/Volleyball) That’s not even one percent of the series. In most series involving a good vs evil plot line, we usually switch perspectives between our heroes and villains to understand how they’re reacting to the events of the story. But SU is entirely told from Steven’s perspective. The audience only gets new information about gems, homeworld, Rose Quartz, etcetera, when Steven himself learns it. Because of this perspective, we don’t see the final antagonist of the series until the very end of the show.

But even though White Diamond is not present throughout the majority of the show, her homeworld subordinates and beliefs fill in the place of the hurdles that the protagonists must pass. Think about what the show is about and what lessons it teaches. Relationships are intricate and need mutual respect, being proud of who and what you are, and (most importantly) societal roles do not define you. The development of the main characters each involve acceptance of the self and bucking of what’s expected of them. Pearl fully moving on from Rose, Garnet improving her self-love, Amethyst fully accepting herself for what she is, Peridot’s disillusionment with Homeworld and growing appreciation for earth, Connie disobeying her mother’s strict rules, Steven slowly becoming someone better than even his own mother, I could go on. It’s honestly surprising, looking back, how most of the characters’ core issues stem from the lack of self-assurance and how homeworld views their flaws.

White Diamond and her Homeworld regime ultimately represent how systems put limits and stigma onto people for the sake of uniformity. The consequence of living inside your own head. A fusion cannot happen between two different gems, Pearls must be servants, Quartz gems must be big and strong, and Diamonds must be the perfect leaders. Why? Because that’s just what gems do. Because that’s how the system works. Homeworld’s status quo is one of creating an ever-expanding empire at the cost of independence, self-expression, unique lifeforms, and healthy relationships. The system can’t be wrong, White Diamond can’t be flawed, it’s how things have always been so why change what isn’t broken.

Sauron: Dominance and Corruption

While he has more screen presence and is a much more a significant part of the story of Lord of the Rings than White Diamond is to SU, the dark lord Sauron is similarly one small part of a larger tale. Heck, he doesn’t even have dialogue in the book trilogy. Also, like White Diamond, Sauron is best represented by his many underlings. Ruthless orcs with crude but effective weaponry, colossal beasts to crush his enemies underfoot, massive armies dedicated to the dark lord’s cause of dominating all life in Midde Earth. But what’s most notable about Sauron isn’t the great power he possesses or the armies he commands, it’s the way he corrupts and deceives those that stand against him.

The betrayal of Saruman the White, the nine Nazgûl once being great kings of men who were turned into terrible ringwraiths, and most notoriously, the enticing power of the one ring. Boromir, believing that Gondor can use this evil weapon for good. Smeagol, utterly degraded into a deceitful cave dwelling throttler named Gollum. Frodo, forced to carry a heavy burden that weighs him down both physically and mentally. To Sauron, the corruption of good is a weapon he wields with unmatched lethality.

The insidious nature of his villainy is what makes Sauron the great representative of dominance and corruption that he is. The promises of more enticing good people to do evil for the “right” reasons and the ruthless conquest for dominion over all is all too real an evil to ignore.

The Martians: Colonialism and Warfare

I debated with myself on whether or not the martians from War of the Worlds should be included here. Unlike Sauron or White Diamond, the martians are clear and present throughout the story. On the other hand, there isn’t a named martian general or a big bad that’s shown to lead the alien invaders into combat. In the end, the fact that the martians are made to purely represent the darkest parts of humanity outweighs the secondary theme of this essay.

One of, if not THE first alien invasion story, War of the Worlds messaging is clear and easy to understand. The tentacled beings from Mars are coldly intelligent, remorseless, and regard our world with envious eyes. They use human blood as sustenance when they aren’t vaporizing us by the hundreds, their tripods are horrific machines of mass destruction, and their invasion is one of slaughter and destruction. But the book is quick to remind us that humanity isn’t so morally innocent compared to the martians. The consumption of our blood seems horrific, but humans have also killed animals and each other for food and resources. Their tripods are colossal and terrifying, but humanity has made countless destructive war machines. The invaders are dead set on wiping out humanity, but humanity not only brought extinction to animals like the dodo bird but to entire groups of our own kind. The martians are not simply an alien invasion to fight back against, it’s a cautious look into our worst future. A humanity that prioritizes ruthless colonization and military might is a humanity doomed to be parasitic and heartless.

War of the Worlds also takes a critical view towards solving problems through warfare. Violence is sometimes needed to fight evil, but that does make violence a good thing. The action and battles in War of the Worlds are not thrilling or glorious, they are horrific and even bumbling to an extent. Much like the early British imperials that they represent, the martians are arrogant and only win because they have the better technology. Even the destruction of a tripod has severe consequences, a flaming wreckage falling into a lake and boiling the humans hiding there alive. There is nothing pride or goodness to found in destruction and death. Warfare and violence should be the last resort of those trying to survive, yet humanity and martians brandish their weapons without care or empathy for those beneath them.

The Truth, In-Fighting, and the Seemingly Insignificant

These antagonists all represent a morally dangerous part of humanity. The stubborn refusal to change a flawed status quo, the desire to dominate and corrupt those who don’t, needless conquest and bloody war. But despite all their power and influence, these philosophies that the villains believe in fail them in the end.

For White Diamond, her ultimate failure stems from the mortal enemy of all tyrannical systems: the truth. In the last episode of Steven Universe, White Diamond removes the gemstone from our protagonist’s body. Believing that the mischievous Pink Diamond is merely hiding in this human body, White seeks to end this silly game once and for all. But once the gemstone is removed, it does form into Pink Diamond or even Rose Quartz. It forms a bright pink Steven. In the final act of Change Your Mind, White Diamond is faced with reality and all its implications. This gemstone is Steven, it’s always been Steven. This half human is not the irrational or childish person, it’s White. The leader of Homeworld, the one who’s supposed to know all and make things better, is wrong. But in order to do that, she needs to leave her own head. One of the hardest things for a person to do is admit when they’re wrong, that their foundational beliefs holding up a status quo is deeply flawed and objectively false. But accepting that you were wrong, learning from and fixing your mistakes, and becoming something better than what you were before is the greatest reward anyone genuinely looking for redemption can ask for.

For Sauron, his victory over Middle Earth comes so close. Minas Tirith has been ravaged, the army of man outside the black gates are crumbling before his might, and the ring bearer has been corrupted. However, just when all hope is burned to ash, something unexpected happens. Gollum, the epitome of the corruptive power that the one ring possesses, attacks Frodo to get back his precious. Whether it’s through struggling with Frodo like in the movie or not paying attention like in the book, Gollum falls into the fires of Mount Doom with the ring in tow. In the movies, we’re told that the eye of Sauron can pierce through cloud and stone. Because of this detail, I personally wonder what was going through the dark lord’s mind as he watched Gollum plummet to his death. The one ring’s defense, Sauron’s greatest strength, corrupting others into fighting amongst each other, was what led to his ultimate downfall. This is not the first time something like this has happened. Think back to the orcs fighting amongst themselves, or when Wormtongue stabs Saruman in the back. Not to mention that the mercy of both Frodo and Bilbo is what led to Gollum reaching Mount Doom in the first place. Even with all his armies and power, Sauron underestimated the petty infighting amongst his followers and the little acts of kindness of his enemies. Even when the forces of darkness seemingly succeed, all they’ll have left is each other to destroy. As Frodo himself said in the Two Towers book, they can’t conquer forever.

For the martians, their demise comes outwardly from nowhere. Their Tripods fall silent and they all die due to sickness. The book states that the martians either never encountered bacteria like earth’s or they had wiped out all disease on Mars. In both scenarios, the martian’s belief in their untouchable superiority over earth led their death. As soon as their invasion started, they were doomed. War of the Worlds isn’t just a hard look at what humanity could become, but also a love letter to all types of life. Bacteria, the seemingly most insignificant part of our world, is our savior here. It is so, so easy to despise germs and how they make mankind ill. But they also decompose dead flesh, helps the human body digest food, and are just as vital to our world as so many other creatures’ humanity takes for granted. All forms of life has a place in this world and to undervalue, let alone actively want to eliminate, all of it is foolhardy and black-hearted.

It’s how these stories come to an end is why I’m attracted to the idea of villains representing abhorrent philosophies. They show the inherent flaws of such morally bankrupt ideas and how their failures are inevitable. The desire for uniformity and belief that your status quo is flawless cannot stand up to the truth of the situation. Great and powerful conquerors seeking to corrupt will find themselves destroying each other when there is nothing left to dominate, while small acts of generosity and sympathy keep their opponents afloat. Arrogant war lords with their mighty machines will crumble to the things they deem to be insignificant.

[mahou-furbies]

Now caught up with Mermaid Melody Aqua

When this originally started my involvement was mostly about gawking at Lukia's design and I only read a couple chapters before dropping off, but now I'm caught up. Aannnddd how do I put this... it's hard to gauge how critical I can be since this is clearly aimed at a younger audience, and also romance stories aimed at tween girls are already such a punching bag, but... this is the first time I'm considering if I should give a mal rating of 1/10 to a manga. I've read other Nakayoshi series and for the most part have been able to find something like or at least end with a wishy-washy "I'm not in the target audience but I guess it's okay for what it is" sentiment, but this one just has so many issues, in addition to a myriad of stuff that personally pisses me off.

The story is about the original series' heroine's teenage daughter Lukia, who, as anyone who knows anything at all about this manga, looks exactly like her mother for no reason. The ocean is in danger again and Lukia has to marry this one merman to prevent a catastrophe, but she is in love with a human boy, who doesn't know about her mermaid identity and is into both her human and mermaid personas separately and struggles to choose. There are also some magical girl battles. So not that unusual of a shoujo premise.

I tried to think of what my biggest issue with the manga is, but it turned out to be difficult since there are so many to choose from. For starters, I can't think of anything I like about Lukia. Obviously for someone who is into fun anime designs her look is an immediate 0/10 for being an exact copy of an existing character, but it also makes the story harder to follow at times when it's difficult to tell if a character is supposed to be Lukia or her mother. But even apart from the character design she's just so bland, and doesn't have much other passions than lusting after a boy and doing the plot, and even with the plot she's just sort of passively stumbling through. Like in the part where she's being pushed to be with her fiancé and she just limply goes along, and overall it feels as if she spends like 95% of the story looking flustered.

The boys are pretty generic shoujo love interests, and in general in control of the situation while the heroine blushes and follows. They also have little else going on outside chasing Lukia, and get into arguments with each other over who gets her while she feebly stands on the side (her opinion is irrelevant).

However despite the people in the main love triangle being extremely unlikable to me, somehow I'd say that the returning MMPPP cast draws the shortest straw in terms of characterisation. The former heroine Luchia has two roles; either she is the butt of the joke as an embarrassing mum, or an obstacle to Lukia's romance who pushes the arranged marriage, and both are depressing when you consider how she was originally a typical magical girl heroine. More often than not Luchia and her friends are more often than not written like immature teenagers, and at their lowest swoon over how attractive Lukia's fiancé is (all the while the readers are shown how unhappy Lukia is about having to marry some rando).

Lukia spends majority of the series thinking about men, and she doesn't really get proper friendships to balance that out. At the beginning the series does introduce a new mermaid as a friend to her, but they quickly fade into being just an accessory to Lukia. It feels like when the series wants to have a "the heroine is doing fun stuff with her girlfriends!" scene, it just has Lukia hang out with her mum and her mum's friends (who never grew up), which is kind of cringe.

Then there's the fanservice aspect; this is a shoujo series but it sure likes to have Lukia wear tops that show off her sizable rack and skirts short enough to show her butt cheeks. In one scene Lukia is just flat out naked so the main guy can walk in on her. And the mermaid tails have been drawn to display the curves of their legs, which to me creates a kind of grotesque effect when it looks like their feet have been cut off from the ankles.

Then finally some complaints about the overall storytelling, it's just so clunky. Like Luchia reveals that Lukia is a mermaid and already engaged, and Lukia runs off in anger. Next page she is introduced to the mascot and has some banter with him, and two pages later it's already the next day and we're at school. You would think that Luchia would at least try to talk a bit more about how her daughter's life is about to take a huge turn, but apparently nothing that was important enough to show to the reader happened during this time. In general there are a lot of moments where transitioning from one scene to another, or even from panel to panel, is noticeably clumsy. Characters also feel like they act just however the scene needs them to.

I am aware that there are plenty of women and girls who are into this kind of love stories where a big strong man shows up to swoop the blank slate heroine off her feet (just think about the popularity of Twilight and 50 Shades), and I would imagine that Mermaid Melody Aqua is aimed at 12-year-old girls who want a "sexy" romance with hot boys totally devoted to the viewpoint character. But I've never been there so I can't relate, and if I had to think "well someone else probably likes this" every time I think of writing a review I could never criticise anything. So let's just close with the sentiment that with the laziest character design imaginable, wet rag of a heroine, super conservative gender roles in the romance, inconsistent and dull characters, undignified portrayal of original series heroines, unappealing fanservice and overall weak writing this is a good contender for my least favourite manga ever. The story isn't over but it's hard to see how it could crawl out of this hole.

[acotar-taylorsversion]

Future ACOTAR Books

Ok, so Sarah is contracted for 2 more acotar novels and a novella, right?

Here's how I'm thinking its gonna be laid out.

ACOTAR -1, ACOMAF -2, ACOWAR -3, ACOFAS -novella 1, ACOSF -4

ACOTAR 5 - Elain's book with Azriel as love interest. I believe she will reject the bond with Lucien and help Nesta and Az with the trove and locating Koschei, the prison, Az and Nuala and Cerridwen helping her with her seer skills since it can be related to spying, and all that. There's much that could happen here and some many questions could be answered.

Novella 2 - this can be Vassa and Lucien's. I truly believe that if Elain would reject the bond, Lucien would allow himself to discover something with Vassa. This would push the story along for the Koschei storyline because I believe that Lucien and Vassa will be heavily involved with that. Sarah made Lucien a part of this band of exiles for a reason. We could also see or hear about what the inner circle is doing through their povs or through some type of correspondence through Lucien. This could possibly start while Elain's story is going on as well, if she rejects the bond early on in her book. She could even tie in Mor and what it is that she's doing since she's trying to get more allies for Rhys. And even Eris since he will be dealing with Beron and the aftermath of being caught. Seems like a lot but Tower of Dawn was meant to be a novella and look how that one turned out.

ACOTAR 6 - this could be a multi pov novel that centers around all the sisters and their chosen loves. And don't tell me she won't because she did it in acofas. OR it could be in feyre and Rhy's povs because they are sarah's favorite couple and if she had to end the series with any couple I believe it would be them. But anyway, I believe that Koschei will be the final big bad for acotar and its gonna take a lot to defeat him. it's gonna take everyone coming together just like they did with the king of Hybern. I also believe that people are gonna die. I've always felt that Mor would be the one to die and maybe Lucien, and Helion, and Tamlin. I think that a couple of courts would be left without high lords and this would allow Rhys and Feyre to become High King and Queen, especially after what we learned in HOFAS, its pretty much his birth right. Wouldn't be something since Tamlin told Feyre that there were no such things as High Lady's and she would end the series as High Queen! lol

This is what I think will be happen, and it's my opinion so I don't need anyone telling me that I'm crazy or delusional, none of that. Based on what happened in frost and starlight (the one that sarah said she set up the rest of the series in), I believe this is what could happen. Do I think Nesta's story is done? No, and we could have her pov in the last book with her sisters. Do I think the valkyries are gonna be main characters? No, I don't because I think they are there mainly for Nesta and I only see them helping with battles and maybe some research. That's it. Do I think the illyrians will be important? Maybe, but sarah has been known to forget about some plots or just completely shut them down in the next book. Remember how we all thought Kallon from frost and starlight was gonna be Cassian's enemy #1 in silver flames? Don't remember him at all? Exactly.

Sorry for the long post, I just have to get all of this out of my head before it drives me crazy. Just so y'all know, I'm pro elriel, feysand, nessian, vassien (if Lucien survives). I don't see how elucien could ever be a happy mated couple, and I don't see how people think Gwyn and Az could ever be romantic and you can't say the next book is Nesta's and say that sarah will have gwynriel as the couple when they would be side characters. Each book will be centered around a couple, right? Did she say new or established? I can't remember but the main couple wouldn't be in the background. And I don't see how Gwyn could carry an entire novel. I'm sorry, I just can't. It would be half of silver flames and I don't think Sarah will do that. And I do think its messed up how sarah and Bloomsbury have let this nasty ship war go on for this long.

But I do believe that this series started with Feyre and her sisters and it will end with her and her sisters. I believe Sarah has made such a big deal with 3's for a reason. Do you guys remember that scene in mist and fury where Mor (whose power is truth) painted the 3 sisters and 3 brothers on the wall in the cabin? That meant something. Mor's reaction to almost every Elriel interaction means something just like it did with Nesta and Cassian. Azriel being able to smell Elain's mating bond and questioning the cauldron means something. The sisters being Made means something. The fact that the cauldron was messed with means something.

Anyways, these are my thoughts. Sorry that this is so long. Please be kind.

[ikjun]

i am bemoaning the length of the dongjae spin-off because i think it is very well done. the case is constructed in a way that it’s not boring, you just have to pay attention to everything said and shown because it is all relevant to solving it, and to the overall plot, duh, in a manner that’s very stranger-esque. dongjae being able to make a breakthrough due to a minor interaction in one of the first episodes is so the si-mok playbook that i couldn’t not love it and similarities between his team-up with police officer hyun-woo is also a nice callback. but the show is still distinctly dong-jae in tone and feel, he’s sometimes the butt of the joke but he also gets to succeed and win - we actually see him be good and sufficient at his work, which would explain why someone like him got to stay in his line of work for twenty years.

in that vein it is also great to see them put so many callbacks to his time as a character (third lead !!) in stranger into this show, which rewards longtime fans a lot. his relationship to won-cheol, showing how much medication he’s got prescribed after the events he went through, using his malpractice case from s1 as a hung-up and roadblock for him in the prosecution, and how scared he was when the internal investigator in ep7 said he’d want to interview si-mok as a witness and how dong-jae was vehemently against it right away. it makes sense to the audience that knows him while keeping first-time watchers curious what the deal with that and dong-jae is exactly.

then there is nam wan-seong as a villain. he only works as one because dong-jae is the main character. someone like si-mok wouldn’t give a man like ceo nam or his family the time of day, any temper tantrum would fly right over his head or go past him while he’d solve the case and prosecute him. but nam wan-seong can push every one of dong-jae’s buttons and so does the involvement of his son at the beginning of the case. dong-jae has two achilles heels: his opportunism and his investment in cases involving teenagers and kids. he loathes child-bullying and teenage delinquents, he doesn’t want to see teenagers (teenage boys specifically) go down this path because, for whatever reason, he is affected by that as a father himself. so he can’t let sleeping dogs lie in that regard and nam gyeo-re is the perfect segue way for him to start an investigation and that leads to him clashing more with ceo nam. ceo nam, who bribed dong-jae when it was still en vogue for dong-jae to indulge in that, and who knows how to play someone who is pliable. he’s the type of man dong-jae has to rise against because he is everything dong-jae was and somewhat is somewhere still inside of him, so to win against him also signals a character progression for dong-jae, which would also be signified in such a big case possibly getting him back to seoul.

it’s fun, even bordering on downright hilarious (the inner monologues, the soundtrack!, the physical comedy of dong-jae being dong-jae), it’s engaging and thrilling, it’s a cat and mouse game, a procedural, and more than anything it feels like a victory lap dedicated to the fans of a franchise who gave their time and energy to this character over and over again, honouring the original writing of the show as well as lee joon-hyuk’s best and most signature role. that’s our dong-jae indeed, and our show (and i wish it got the sixteen episode order to carry it home.)

[majachee]

One criticism of LMK I don't agree with whatsoever is that "LMK villainizes Wukong."

It doesn't. It really doesn't. The show's portrayal of Wukong is meant to be a flawed individual with good intentions, and the main themes of the show center around not letting the past define you and growing past your mistakes. While not every villain is redeemed, the clear message of growth is there within the main cast, especially with them being reincarnations/descendents of the Pilgrims. And Wukong's major character flaw is closing himself off, and this is very much connected to these themes.

MK, at the beginning of the series, idolizes Wukong. While he does acknowledge that Wukong was a troublemaker in the past, it's not elaborated on nor does MK really think about it. MK is excited about his new powers and meeting his hero for the entire first season!

It isn't until season 2 that doubt really starts to creep in, where this idea that Wukong is a perfect hero starts to fracture in MK's eyes. We, as the audience, know that Wukong is investigating LBD and trying to keep MK safe by leaving him behind; but to MK and the characters in the show, they take Wukong's word at face value. If Wukong says he's going on vacation, then he's going on vacation. While they're not pleased about it, they don't have a reason to believe Wukong is doing anything else. And that's what Wukong wanted, nobody following him and putting themselves in danger. He's the immortal monkey, he can handle this himself, in his opinion that is.

And then LBD gets the staff, and they finally learn where Wukong truly was all this time. The main group rightfully feels a bit hurt, they trust Wukong but Wukong didn't trust them. We know his reasons, but we can still empathize with the others' hurt and confusion. This doesn't make Wukong the villain or a terrible person, though. He wasn't plotting behind their backs, he was trying to handle the threat by himself.

In season 3, the most vocal person regarding their distrust of Wukong is Pigsy. Even before Amnesia Rules, Pigsy scrutinized Wukong's meditation and even the validity of the map to the Rings. And then Amnesia Rules happens, where Wuking reveals that there aren't just 3 Rings of Samadhi but 4.

Pigsy is rightfully suspicious, and its meant to give suspense to the audience as well. Why didn't Wukong tell them about the 4th Ring?

And then we learn the whole story: Wukong slipped during the ritual, and one of the Rings ended up forming inside Ao Lie. Mei, as a descendent of Ao Lie, now carries the fourth Ring. When it's revealed, Nezha specifically mentions the fire possibly burning Mei to a crisp. This is also when we learn that Wukong's plan was to extract the Ring from Mei and harness the power of the Samadhi Fire hinself.

Wukong's main fault in this entire scenario was his tendency to push people away and keep things to himself. His desperation when they begin the ritual without him also points to him not wanting Mei to get hurt. He also feels responsible for the Ring being in Mei in the first place.

His plan was flawed from the get-go, not because he's an evil villain, but because in trying to handle things by himself he pushed his new friends away from him, and created a situation where they couldn't trust him. We see this trait of his again when he goes to fight LBD alone, he feels responsible and wants to handle it by himself. His mindset is constantly looping between "I'm responsible for this" and "Don't get the kid and his friends involved." And what the show is trying to tell us is that he should reach out for help, and that this isn't a healthy mindset.

In season 4, Wukong's past mistakes are exposed for everyone in the main cast and the audience to see. And his past with the Brotherhood explains so much.

We don't know much about the pligrimage other than the fact that it was mentally and emotionally beneficial to Wukong after he got locked up, so for now I'm going to focus on the Brotherhood.

The Brotherhood assembled to fight against the Jade Emperor, as Wukong was openly rebellious during this stage of his life. After the battle, he had to lock his former friends away because they clearly hung onto this goal of rebellion. We also see in the memory scroll that Azure Lion's "paradise" caused environmental devastation to the surrounding areas, and that after Wukong was imprisoned he lashed out at Macaque. He feels responsible for Azure's ideas of grandeur to some extent, in his eyes he was the one who fed into these ideas and lead their first attempt at rebellion. He was so caught up in his journey towards immortality and strength for the sole purpose of protecting his loved ones, that he ended up pushing them all away and hurting them. He even says at the beginning of season 4 that most of the bad guys MK faced were people he has history with, specifally that he crossed them at some point.

Based on Wukong's self-destructive behavior that's been previously established, season 4 brings a lot of light onto Wukong's behaviors. Once again, he left some things unsaid because he felt solely responsible. When MK and Macaque rescue Wukong from the scroll, it takes MK reassuring Wukong that he can still correct and grow past these mistakes that haunt him — with Macaque offering him a small, forgiving smile to really motivate him.

Wukong's character in this series is that he's a flawed individual who has made mistakes and will continue making mistakes, even with the best of intentions in mind, but that he can grow from them. And that he is going to grow from them with his newfound family. LMK made it's message of growth so painfully obvious here lmao

[lizzybeth1986]

Liam and Olivia: When You Prefer The Side Character To The Main

Series - TRR's Alternative LIs: The Romances that Didn't Happen

Previous: A Brief History of Alternative Romances in Choices

A/N1: My apologies for the length of this one! There was a LOT to explore, and even more that I had cut out from my initial draft.

A/N2: This essay operates on the premise that Liam is not the "favoured LI"/"golden boy" of the team - an argument I have made in detail in other Liam-centric essays. I am not interested in arguing those same points in my comment box/reblogs. Visit the Liam section of my meta masterlist if you want to learn more about that.

CW: Mentions of non-consensual kissing. Mentions of the plot against the MC in TRR1. Very fleeting mention of the "infertility subplot" TRH pushed onto Hana.

(Screenshot from HIMEME's YouTube channel)

As I mentioned in the previous essay, TRR (along with ES, to a far smaller extent) was the only series that seemed to make an attempt to pair even their popular LIs with another character. It also was (along with TCaTF) one of the very few books that hinted at an alternative romance in the first book itself.

This section of the essay series will perhaps be the longest, since Liam x Olivia got the earliest hints, and was built up first. While the other three pairings were introduced or hinted at in Books 2 and 3, the reader got to see glimpses of a possible Liam x Olivia pairing from the finale of Book 1 onwards.

Why An Alternative LI?

TRR is, essentially, a story that hinges on the likelihood of an arranged marriage. The character that makes this entire story possible, Liam, is expected to pick a bride by the end of his social season, whether he is ready for marriage or not. The ending of Book 1 itself ties his ascension as a king to marriage.

(Screenshot from Skylia's YouTube channel)

To prove Madeleine's point, the finale actually shows us that until he picks a fiancèe, he literally won't be addressed as king, but still as Prince Liam. So while this point does get heavily retconned later on in the series, the original story itself required Liam to be married sooner than any of the other LIs.

But Liam's story doesn't just hinge on needing a good Queen for his kingdom. His arc - at least in Book 1 - involved learning that being a good king doesn't mean he needs to sacrifice his own desires or romantic sensibilities. If that were the case, he could have just been stuck with Madeleine. No - the story was supposed to be about Liam learning to validate his personal aspirations without hurting his political position. It was essential then that the woman he picked was someone he either was already in love with (the MC), or someone he grew to love over the course of the series.

When you take this context into account, having an alternative romance becomes not only convenient, but essential.

And if the MC doesn't choose Liam as her endgame...who better for this "romance" than an old friend who has always held a torch for him?

A Romantic Rival

(Screenshots from Skylia's YouTube channel)

As most of the fandom remembers the first book and the trajectory of the Liam and Olivia relationship in it pretty well, I'll try not to go into too much detail. The Olivia of Book 1 has two parallel storylines: the one with the MC, where they first start out hating and then learn to like each other...and the one with Liam, which begins with Olivia assuming she will win the social season, but becoming more and more resigned to the MC's chances of winning as her position in the competition declines.

There is obviously a lot more focus on her dynamic with the MC, for two reasons:

1. Until the MC chooses an endgame, an LI will never show more interest in another person. It will always be the alternative LI whose interest initially drives that side-story. Making an LI reciprocate that interest can result in a negative impression of them, as fans could potentially believe that their love for the MC is not genuine or special. This is the case for all LIs in the series, not just Liam.

2. Narratively, the first book wants to make Olivia's love for Liam their big character reveal. It is the first time Olivia actively opens up to the MC, and is canonically the beginning of their "friendship". So very little emphasis is placed on her emotional attachment to Liam until the Coronation (with her cactus gift and her confession to the MC before leaving), and even less on how Liam feels about her.

Whatever little we do get of Liam and Olivia's dynamic before the finale is focused on their childhood friendship. We learn from Liam that she was a sad, lonely child when they met, heartbroken by her parents' death and the negligence of the aunt who was supposed to raise her. Her attachment to Liam emerges from his support of her when they were children, and we later learn in TRH that he not only supported her, but often empathized with young Olivia and comforted her in ways that didn't give away her vulnerabilities.

Olivia claims at the beginning of TRR1 that "everyone just assumed Liam and [Olivia] would get married one day". Given what we learn later about Constantine and the Nevrakis family (and the fact that no one backs Olivia's claim at any point in the book), it is possible she was exaggerating. But it is also true that until the MC gains more popularity and Madeleine makes her entrance, Olivia is assumed to win the social season quite easily. In the same way that Madeleine is positioned as the "political" rival in Book 1's story, Olivia is viewed as the "romantic" counterpoint to the MC.

From Liam's end, there is actually very little shown about his thoughts on Olivia. It is clear that he cares for her, wants the MC to think well of her and understand her circumstances. While as a child, he comforted her when she was called a cactus by reminding her that they were tough plants that no one messed with; as an adult he is pained by her vindictiveness towards people who haven't even harmed her. There is plenty of grounds here for some sort of relationship, but enough there that shows why the MC who will marry him would be a slightly better fit.

The second half of TRR1 focuses on softening Olivia to an extent - having her and the MC optionally bond over their dislike for Madeleine (who is viewed as the "bigger bad" at this point) and having her only occasionally approach Liam for his company. Her feelings for him come to the forefront only during his Coronation, around the time she withdraws due to the blackmail exposing her parents' attempts to assassinate King Constantine.

This moment in the series completes Olivia's transition from antagonist to a possible friend. The reveal that Olivia loved Liam all along ensures that the MC can sympathize with her for not getting the man she loves, and allows the reader to envision her as a future ally.

To some who already vouched for a Liam-Olivia endgame before the finale, this moment was a confirmation. To others who didn't exactly see Olivia's actions towards Liam as rooted in affection, this moment was a revelation. Whatever it was, this moment made her extremely popular in the fandom.

But this scene also had a more important purpose - it provided players not interested in Liam, a possible out from the situation. The ending of TRR1 hinged on Liam choosing the MC as his future bride, then being forced to accept someone else when the scandal broke out. Book 2 allows the MC to explore what she wants without the expectations of a social season. The prospect of a titled lady who genuinely loved Liam being his potential endgame would make it easier for fans of other LIs. It sounded like a perfect ending for everyone.

The (Unwanted) Kiss, and What It Says About the Fandom

(Screenshots from Danni Stone's YouTube channel)

A scene that often gets ignored (or conveniently forgotten) when discussing Liam x Olivia in TRR1, is the kiss in Lythikos.

The Lythikos Ball in Ch 8 is already a social battleground of sorts for Olivia. She wields her power as hostess here - monopolising Prince Liam's company, and humiliating the MC and her friends with the worst seating and ice-cold food. Things come to a head when - while dancing the Cordonian Waltz with Liam - she forces a kiss on him, completely disregarding his ability to consent.

I use these precise words to describe this incident for two reasons. First, because canon refused to do so. Second, because most of the fandom refused to do so.

Different characters in the story respond to this incident in different ways. A shocked "what a bold play!", a sarcastic "Olivia's growing up, how sweet", and an enraged "she's gone mad with power here!" emerge from the ladies of the court - all focused on Olivia's intentions and actions. None of these responses ever address Liam's end of this situation.

Even more interesting are the options the MC is given to address the situation when Liam speaks to her later.

(Screenshots from Danni Stone's YouTube channel. This is the second dialogue option)

She either speaks to Liam like nothing happened, or engages in victim blaming. Personally I think both options are as bad as each other. Neither of these options include "are you okay?" or "were you comfortable with that?".

Liam's answer to the MC's (optional) accusations is perhaps the only time the issue of consent is even barely addressed (and even here Liam is duty-bound to think of Olivia's welfare over his own comfort). It is appalling that it takes the MC practically victim blaming this man for that to happen. And it is equally disturbing that Liam's response is so apologetic, so contrite, as if this entire situation was his fault.

The kiss is viewed as a number of things in the book: an affront to the suitors who have no power in Olivia's estate, or a political blunder. But what does it mean to the man who had this kiss forced upon him? Would he really feel comfortable or safe around her again after that? The writers clearly didn't know, nor did they care. And most of the fandom was only too happy to follow suit.

The few times this kiss was spoken about amongst the fandom, the question of consent was barely ever addressed. The kiss was either brushed aside as unimportant, seen as an indication of the "love and passion" Olivia had for Liam, or viewed as a manifestation of her jealousy towards the MC. Liam is sometimes seen as "clueless" for not "noticing Olivia's feelings...I mean, she literally kissed him!!" All of which could be true, but it doesn't erase the fact that his consent was never given, nor his comfort with the situation ever considered.

It is doubly ironic given the fandom reaction to the MC's plight in Applewood, after Tariq attempts to kiss her without her consent (though this situation involves significant privacy violations and dark conspiracies, and Liam's does not). The MC's situation was (rightfully) viewed as horrible and potentially traumatising, and many were upset that the emotional impact of it wasn't adequately addressed in the story. It wouldn't be surprising if Liam's situation wasn't viewed on the same level - given the difference in contexts - but the fandom and canon rarely saw this as something that happened to him, without his consent.

Ironically, the fandom never really considered Olivia planting a whole smacker on Liam's mouth as possible "proof" that she could engage in creepy, entitled behaviour...but they did often view Liam as "creepy" for...complimenting diamond-option outfits, or saying romantic-coded dialogues that the MC would reciprocate by default (again - I don't deny this is a problem and those lines should have been coded properly. However one cannot deny the doubt standards here). Olivia was the one who forced a kiss on the object of her affection in canon, but Liam was the one who got so many "abuser" and "harrasser" (and worse!) depictions in fanfic when TRR2 and 3 were out.

I will be addressing this particular scene again in another context, in a later essay in the series. I would like my readers here to not forget this scene, or the (lack of) outrage around it. It would be helpful to ponder over why Olivia's behaviour here is largely viewed as no big deal, especially when other side characters (and at least one main character) could be villainized for far, far less.

Olivia and Liam in TRR2 and 3

(Screenshots from Skylia's YouTube channel)

TRR1's finale and TRR2 show a small shift in Liam and Olivia's dynamic. Now that he is engaged, and in love with a woman who isn't Olivia, their interactions become sporadic and awkward. To ensure that Liam won't be viewed as a cassanova, the narrative keeps their interactions to a minimum. Group scenes that involve Liam often leave Olivia out, and group scenes that involve Olivia exclude Liam.

However, to address the "romantic potential" from TRR1's finale, the book shows Liam and Olivia interact in at least one scene in Ch 10. Here, they have a short, stilted conversation that leaves Liam concerned about Olivia's well-being, and that makes Olivia grieve over her unrequited love for him to an equally concerned MC.

Olivia's story in TRR2 largely centers around establishing her character (snarky, prickly, warriorlike. Much of this is actually a deviation from her writing in TRR1), strengthening her relationship with the MC, and integrating her into the core group.

Olivia's feelings for Liam get addressed again after the MC makes her final choice of LI. The MC's acceptance or rejection of Liam's proposal results in a bit of tension between the two women. If Liam is the MC's choice, Olivia admits to her heartbreak despite being truly happy that Liam has found love. If not, she reveals a slight resentment that the MC could so easily throw away the love that Olivia so badly wanted. The narrative allows Olivia her complicated, ambivalent feelings towards the Liam x MC match, and expects the MC to understand and sympathize. By default.

If you don't choose Liam in TRR3, his romance with Olivia does start here. And by this I mean that Liam is now allowed to reciprocate her affections.

(Screenshots from the Skylia YouTube channel (Drake playthrough). The screenshots aren't in order. 1st Liam x Olivia scene is the handholding at Applewood (5), 2nd is dancing at Vegas (1st two), 3rd is Liam asking Olivia for a dance at the finale ball (middle two), and the last is Liam asking Olivia out (6))

Even in the playthrough where Liam is marrying the MC, his default is to trust Olivia, show her kindness and staunchly defend her to people who suspect her motives. Liam advocates for her innocence in TRR3 Ch 2, even as her family becomes one of the prime suspects. The MC may vouch for her by choice...but if she does choose to suspect Olivia, it is Liam who pushes back against the idea.

By this point, the MC and Olivia can cement their friendship if the former has worked on gaining her trust. If not - the book has already created an inbuilt mechanism to ensure Olivia's loyalty anyway. It is tied to her gratitude and affection for Liam, the one person who consistently believed in her from childhood. Whether the MC makes an effort to win her approval or not, Olivia respects her. Her emotional attachment to Liam as an old friend, and loyalty to her king, ensures that her support is gained by default throughout.

Outside of his own playthrough, though, the narrative does slip in a few extra scenes where Liam shows an obvious romantic interest in Olivia. It's small - he isn't exactly yelling from the rooftops that he loves her - but it is definite progress where he seeks her out for support, dances with her and eventually asks her out to dinner at the finale. The scenes are few but prominent, and leave no doubt to the reader that Liam fully intends to court her.

So...why is Liam still single in the Drake, Hana and Maxwell playthroughs of TRH?

Writer Bias

When you read enough interviews and watch enough livestreams from the TRR team, one thing becomes very, very clear. They love their TCaTF callbacks. And no callback is more beloved to the writers than the repurposing of Zenobia Nevrakis' sprite to create her descendant, Olivia.

In this section, I will focus in particular on Kara Loo, COO of Pixelberry and one of the head writers of the TRR/H/F series. Going by several interviews and social media posts, Kara wrote most of Olivia and Drake's scenes and dialogues (along with "some of the Prince's speeches"), and was in fact the driving force behind how Olivia's character came to be, in the original series.

"...when we were creating Book 1, we wanted an evil redhead to be your antagonist, and Kara said, "Oh, what if we used Zenobia, but the twist is she's a Nevrakis descendant?"" - Jennifer Young, Looking Back on The Royal Romance (Sept 2018)

Kara has openly admitted before to having a fondness for Olivia's particular character type. In an interview with Daily Dahlia, she spoke of Val, one of the TCaTF LIs, in glowing terms that perfectly fit the way Olivia has been written as well:

"I love writing Val Greaves in The Crown & The Flame. I love writing for characters that are a little meaner and will really just say what they’re thinking, even if it isn’t exactly tactful." - Daily Dahlia's Interview with the Pixelberry Crew (Sept 2016).

The love for mean (and white! Don't forget white) women among the team, is pretty clear when you look at the kind of reception TRR's mean white women get.

Notably, Kara does have the occasional nice thing to say about Liam too. In an interview before the release of TRR2, she spoke of how "considerate and loving he is", how "there is nothing mean or selfish about him". As a Liam fan who kept seeing him bashed left and right after the TRR1 finale, those words initially felt like a massive relief.

But now, seeing the way the team treats nicer and more diplomacy-oriented characters in the series, this fulsome praise for Liam's selflessness gives me pause. It reminds me too much of how most of the team swore up and down that Hana would be their choice of LI to marry in a livestream, at the same time that they were slamming an infertility subplot on her in the books. Looking back with the knowledge of how the writers would treat Liam later, praise like this seemed less focused on finding him lovable, and more on ensuring that he gave constantly to the MC without ever getting much in return.

While Liam's treatment is not as bad as Hana or Kiara's, one must take note that the team - esp the head writers - have never really hesitated to throw Liam under the bus or retcon entire chapters and backstories to make characters like Drake seem better than him (eg. The narrative choice to have Drake claim Liam was leading the MC on when they first met in TRR3, which has led to more than one attempt to rewrite the bachelor party).

Part of this could be attributed to just the fondness for a specific character type. But I do think that with Kara in particular, ideology also plays a role in her preferences. There are at least two interviews from the team where her liking for darker, more violent storylines has been mentioned. In TRR3 the team affectionately called some of their brainstorming sessions with Kara as "Kara's trail of bodies" (one idea was to kill off Madeleine in Lythikos), and in the TRF livestream they mention that she initially wanted a war storyline.

This leaning towards a more militaristic mindset shows...in the care that Kara takes for Olivia's dialogues and especially her spy scenes (tho such scenes actually don't contribute much to the plot). In contrast there is a subtle disdain for the more diplomacy-minded characters shown in scenes where Olivia's ideologies are measured up against theirs (eg. Any scene where Hana and Olivia are supposed to work together, or the vast difference between the "valiant" Lythikos tournament and the "ridiculous" Castelserraillan flower competition in TRH3).

Even though it is often the diplomacy that saves the day at the end, the framing always highlights the militaristic way of thinking more positively. Given that Kara writes a lot of Olivia, and a fair amount of Liam, it's pretty obvious now where her (and the team's) particular bias may lie.

Because of this bias, it became far easier for TRR's writers to lean into popular fandom myths when it suited them, or pander to a particular section of the fandom. Which is the subject of my next section.

Fandom Entitlement

Olivia often has two types of fans - the ones who wanted to ship her with their MCs in canon (and couldn't), and the ones who wanted to be "bestieeeees!" with her. The frustration of the former was rooted in the fact that wlw had only one romantic option, but I will not be talking about them.

The latter were found in plenty among the Liam, Drake and Maxwell stans - all of whom either viewed her as an ally to win over (Liam), or as someone to push onto Liam, so they could romance the men they preferred in peace (mostly Drake and Maxwell. Some Hana stans but not as many).

As I'd mentioned in an earlier section, Olivia's final scene in TRR1 allowed people who didn't want to romance Liam, to envision a narrative 'out' for themselves. By the time Olivia reappeared in TRR2 Ch 5, she'd gained a cult following among many, many fans. A lot of them were actively rooting for the start of a romance between Liam and Olivia, and very few resented her for her feelings or begrudged her past actions.

But there was one downside. The intent among the majority who rooted for this pairing, was more about "getting Liam out of the way", than any actual romantic potential. Because of this, certain Liam x Olivia stans (ironically, the Drake romancers were the loudest voices in this group) felt a ridiculous level of entitlement towards this pairing.

A number of readers insisted on having Liam fall for Olivia immediately, wanted him to show feelings for her instantly, and complained when he didn't do so while his (optional) romance with the MC was still on.

Olivia's sad, longing gazes in TRR2 propelled many a reader to complain about what an awful situation poor Olivia was in and how insensitive and uncaring Liam was (even in the face of screenshots that clearly showed him worrying about her desolate mood). One of many examples comes from a post in Feb 2018 - a Drake stan's written walkthrough of TRR2 Ch 10, and ironically the following lines were made above a screenshot set that clearly showed Liam noticing how sad she was and worriedly asking the MC about that:

Liam finds you and as always, can’t help fawning over you. This time Olivia is right there and he is like, Oh yeah, Olivia, you are too here, hi. She definitely notices, gets upset, and leaves because she really does love him and she is third choice at best.

This was not the only one. There were multiple posts like these, and they often positioned Olivia as a figure of sympathy, yearning for a love that would never be hers. Liam in these readings was always positioned as someone who "didn't care" and later, "didn't deserve Olivia".

When he did start showing an interest in Olivia in Book 3, it went largely unnoticed by most of the fandom, even though he was romancing her in at least 3 out of 4 playthroughs. There were very, very few posts made about any of these romantic moments. Instead, from Chapters 3 to 10 of TRR3 - where Liam didn't show any indications of heartbreak re: the MC - certain Drake/Maxwell fans made posts complaining over his not pining over the MC, or theorizing that some of his friendly attempts to educate the MC about the country had to have been done with more than friendship in mind.

This section of the fandom often got insane amounts of pandering from the writers themselves. When TRR3 returned from a hiatus post Ch 9, we were suddenly hit with more scenes involving Liam's "heartbreak" (it featured sporadically in all three of the other playthroughs, but you could tell it was tailor-made for the Drake one because it got referenced there waaaay more) before the big battle with Anton. Fandom spoke far more on these scenes than on the ones they got for Liam x Olivia.

What was completely missed was that such "heartbreak" scenes happened because there was a demand from readers who weren't even Liam stans in the first place, and the same stans didn't hesitate to flip and label him "desparate" or "pining" or write fanfic where he was an absolute creep in response to a thing they asked for!

As for talk of the Liam x Olivia ship post TRR3, the phrase "sloppy seconds" started to be used often to address the pair after the series ended, and there were quite a few posts claiming that Liam didn't deserve such an incredible woman like Olivia.

(Edit Source: the playchoicesconfessions Tumblr blog)

Using the pining subplot that nonLiam stans had asked for, some of the same people would insist that Olivia "deserved better than to be sloppy seconds" (at some point after TRR3, I noticed that even some Liam stans would say the same!). This argument often came hand-in-hand with the lie that Liam never cared for Olivia enough (as one can see in the edit above). It also often hinged on the premise that the MC was Liam's first love, that he wouldn't (and shouldn't!) ever get over her, and that anyone else would rank as second best to him. And while I agree that Olivia deserves a partner who would wholeheartedly love her, this argument seemed to come from people who were eerily reluctant to imagine Liam leading a happy life without the MC.

Tbh, the fandom at large has always had a very confusing relationship with Liam as a character. I wouldn't be exaggerating if I said that from TRR2 onwards, making Liam a scapegoat was a very popular reading from the fandom. He was often expected to live up to impossible standards - way more than the other male LIs - and criticized incessantly for dialogues and action that the other two could easily get away with.

Many fans were (rightfully) frustrated by how Liam could have romantic lines by default (which the MC would by default reciprocate, to their chagrin) all through TRR1 - while ignoring romantic default dialogues from Drake - but also complained when Liam responded more calmly than expected to her rejection of his proposal. They also didn't like that he could be largely neutral/merely friendly towards the MC for most of TRR3. Damned if he didn't, damned if he did.

I'm not saying that this was the viewpoint of the entire fandom. There were people - yours truly included - who pushed back against such a biased view of this pairing. Against a view that insisted on centering only Olivia's feelings, while either badmouthing Liam for not returning her love, or ignoring the times when he did. There were people who pointed to canon for proof that he cared.

But enough voices vouched for this other, more unsavoury reading that "Olivia deserves better than to be Liam's sloppy seconds", that it became quite popular. That it became the accepted view in canon too, when the writers began work on TRH.

Olivia x Liam (not), TRH and Beyond

As we all know by now, Liam x Olivia did not happen in TRH. After a dance and an invitation to a date in the finale, Liam was back to being single and uninterested in any romantic relationships (like all the other LIs). It went to the point where he was ready to appoint the MC's future child as his heir (heir apparent, not presumptive. The fandom mockingly dubbed him "Rumpelstiltskin" for this). At the time, I imagined that perhaps the narrative was trying to erase the pair altogether, since no other LI got paired up either. It would be fair.

This wasn't exactly the case. In fact, in my opinion, what they managed to do was much worse.

(Screenshots from the HR Gameplay YouTube channel. Liam is renamed "Rayden" here)

Savannah's bachelorette (TRH1 Ch 7) has the MC and the ladies "address" certain pairings that were hinted at in TRR3. One doesn't get addressed at all, one addresses the LI by name only if the playthrough isn't the one where the MC is married to him.

Olivia's is the only one that got addressed regardless of whether the MC was married to the man she had wanted or not. And looking at the scene now, I really, really wish they didn't write it at all.

If the MC encourages Olivia to talk about her feelings for Liam, the latter shows anger and resentment over Liam not choosing her twice over. This, despite the fact that he did attempt to date her the previous book. This, despite the fact that he never indicated interest until he actually felt it. This... despite the fact that not returning the feelings of someone who likes you romantically is a normal, natural thing that said someone should accept without judging other person!

In fact, the fandom was more than willing to view other LIs "not returning feelings" as normal, natural and blameless...so why did only Olivia get sympathy and praise for her unrequited love, and why did only Liam have to be criticised for the same?? Even in THIS scene??

Liam x Olivia would not be referenced for 3-and-a-half books after this, until the very end of TRF. Over the course of the series, the team tested her compatibility and possible chemistry with at least two side characters. One was Jin, the Auvernese spy that Olivia fights with in TRH1 Ch 19. While they did seem to have some banter in the first book and a smattering of scenes in the second, interest quickly died down and Jin was written out of the story once the Auvernese royals' scandals were exposed.

TRH3 then hinted at Amalas x Olivia as a pair, peppering hints as early as the introductory chapters. There had been a few murmurings among the fandom for the same, since a number of wlw were fond of Olivia, and people liked headcanoning her as bi or lesbian (in fact, when the team claimed in a TRH1 livestream that having Olivia as an LI would "soften her" too much, the fandom protested). Amalas x Olivia was met with more approval than Jin x Olivia, and in TRF you could encourage Olivia to ask either Liam or Amalas for a dance.

Liam himself never got any other options for romance (understandable, none of the LIs did), and in fact had several aspects of his story chipped away, chunk by chunk, to benefit other characters. In the end, Liam is treated like Olivia's "alternative LI" than the other way around.

It was a pretty ironic ending for a pairing that people felt so entitled over in the beginning. After years of protests against Olivia being Liam's "sloppy seconds" just because he chose her after being rejected by their MCs... the narrative didn't mind treating him like some sort of "consolation prize" (one of two) for Olivia. And as expected, nor did the fandom.

Conclusion: Could This Pairing Have Worked?

Much as I dislike it now, I did think Liam x Olivia had some potential back then. Politically and emotionally, Liam and Olivia were opposites in many ways. There was a lot you could explore. Their background history and the sweetness of their childhood story had the potential to add layers to their dynamic.

But for a pair like Liam x Olivia to work, romantically, some things would need to change:

1. Respect in the writing room for both their ideologies, not just Olivia's. If you view one with adulation and the other with disdain, that will eventually show in the writing. These two could have been a solid power couple if the team could just set aside their boners for violence and knives once in a fucking while.

2. THE KISS. If you're going to have that kind of a scene around, especially in the context of TRR1's larger story, it needs to be addressed. From Liam's point of view. With Olivia openly regretting it and atoning for it, and Liam getting to choose how to handle that. It isn't just enough to assume they spoke offscreen, and then pretend the forced kiss never happened or that that violation meant nothing.

Olivia was wrong. Olivia crossed boundaries. Olivia disregarded Liam's consent. Liam was the victim here, not the person the MC should be shouting at - even by option.

If a romance should proceed between the two, that kiss deserves to be addressed with a lot of sensitivity and respect to Liam's own experience.

3. BALANCE! Between their perspectives, their viewpoints, their beliefs. Which would only be possible if you equally valued both characters.

4. Respect for Liam's feelings and his romantic choices, whatever they may be. Liam knows what he likes best. Him not returning Olivia's feelings is not a crime, nor does it make him any less of a caring person. Him falling in love a second time, seeing an old friend in a new light, should have been embraced as a concept.

Loving someone else deeply in the past shouldn't make his feelings for his second love any less genuine. But most of the fandom adopted such a way of viewing the Liam x Olivia relationship because it allowed them to pity Olivia and blame Liam (again) - and the team validated those sentiments out of excessive care for one character, and a lack of it for another.

Changes like these four would have definitely made for a better-written alternative romance. But given the kind of team and the fanbase TRR had, none of the changes I mention here would ever have a hope of becoming a reality. Olivia is too popular, too beloved to her writers and fandom, (and too white!) to be viewed with even this much of a critical eye. And tbh, once the fandom has marked a character (esp a character of colour - customizable or not) as a scapegoat, they would enjoy bashing them too much to stop. From then on, it would only be a matter of which excuse, which nitpick, which set of double standards, would work best.

Liam and Olivia had potential. And the narrative was able to get that story to the point where the two could at least have a first date. But team TRR squandered all its future possibilities in the mad rush to pander to a portion of their fandom, with a clear bias for the side character...and so we will never know how a more balanced portrayal would've looked like.

A/N3: I have quoted posts that have actually appeared on Tumblr, but without any identification marks. All of them are one among many such posts - either lost to digital decay or hard to find. I do not want to call out any of the individual posters - I want to make it clear that many of these posts are indicative of a fandom-wide problem. Do not try to find out, or harrass, these posters.

Next - Maxwell and Penelope: When You Like the Side Character So Much, You Gift Her A Shiny New LI

[princeasimdiya12]

Return to Nyan Nyaight Love-A Happy Ending in Sight?

Before I begin my analysis for Episode 9's NNL segment, I would like to thank everyone who reblogged my previous post and left kind and wholesome compliments about my analysis. It really warms my heart that so many of you guys enjoyed my thoughts on these segments. Especially if they helped provide a clearer understanding of what thematic purpose they serve in the Bucchigiri series. I'm more than happy to help and I appreciate the compliments.

Secondly, I'd like to thank @saph-yells-into-the-void for providing a majority of screenshots for me to use. Even though you didn't mind not being credited, you still deserve it for these great screenshots!

So just as a quick recap, the NNL segments serve as a Greek Chorus as they parallel the main story of Bucchigiri by using the customer's relationship with Jasmine to symbolize various relations and plot events. This time, their relationship parallels the main relationship of the series: Arajin and Matakara.

Episode 9: A Heartfelt Reunion

The segment starts with the customer being nervous as usual about whether he should go in, only to hurry inside as to avoid being spotted by Arajin who's on his way to the bathhouse. The customer is greeted by the receptionist who is still uneasy with him avoiding Jasmine. And even the customer himself looks less indecisive and more somber when he's asking for Pu'er instead of Jasmine.

As I mentioned in the Episode 1 segment, the customer is meant to symbolize Arajin while the catboy receptionist represents the colorful delinquents that Arajin encounters. And even though the first episode had Jasmine stand in for Mahoro, this time she stands in for Matakara.

The receptionist describes Jasmine as being strong-willed, clingy, and too much at times. Many of which are traits that are associated with Matakara.

-While Episode 9 shows him slowly succumbing to Ichiya's twisted therapy sessions, it's worth noting that it's been several days since when he first merged with the Blue Genie til then. So it's worth noting that Matakara lasted a good while before succumbing to Ichiya's will. And even before that, it was his strong will that helped him become stronger and find a place among Minato Kai while also evading the shadows that constantly haunted him. His determination in becoming stronger helped him to evade those shadows; maybe not vanquish them but not to succumb to them either.

-The clingy and too much at times qualities seem to go hand in hand as most of Matakara's screentime has been spent trying to reconnect with Arajin while holding him on a pedestal. Even as Arajin kept pushing him away, Matakara still clinged on to his idealized version of his best friend. One who constantly inspired him to be a Honki person and do the impossible. The too much at times part also works since Mataraka just wouldn't stop gushing over Arajin to his other friends or tries to force Mahoro to talk with him about Arajin and his involvement in Siguma Squad. While is very much a sunshine puppy boy, he can be quite overbearing when it comes to his old friend.

As of the last episode, Arajin made his true feelings for Matakara painfully clear and how he wants to avoid him at all costs. Only now the rest of the cast have taken notice and how much it's effecting Matakara given his refusal to talk to his other friends Zabu and Sakigake mixed with him running away from home. It's become a serious problem and they're all worried about him.

Something peculiar about the receptionist's behavior, and the whole scene overall, is how it's played for dramedy.

The receptionist treats the customer abandoning Jasmine as something tragic and how badly it's effecting her. There's soft music at play as the receptionist speaks his heart out about the cat's distress and how only the customer can help her.

But at the same time, it's just so ridiculous. Utterly ridiculous! There's no reason that the receptionist should need to be so invested in the customer's preferences in cats. They haven't actually bonded with each other apart from letting the customer in so he can spend time with the cats and spend Lord knows how much money. This is his job so it shouldn't matter which cat some random, pathetic everyman chooses to play with since he's still getting paid rather handsomely at the end of the day.

But it does matter to him.

Maybe (as far as we know) the receptionist doesn't know the customer very well but he (supposedly) knows that Jasmine truly misses him and is miserable without him. The receptionist could try to make Jasmine feel better herself given that he sees her more often and knows more about her. But he knows that she holds the customer in his heart and implores him to go back to her.

And while the Minato Kai boys don't care much for Arajin or flat out tell Arajin to patch things up with Matakara, they do make it clear that their friend isn't doing so well after their falling out. He's in need of help and they unfortunately can't do anything about it given how they were brushed aside. And even Mahoro, who also happens to be a colorful character that Arajin met when he entered the Ichizu gang life, has also picked up on Mataraka's despair and wants him to feel better. She clearly doesn't care for Arajin but she knows how much he means to Matakara, someone who understands her when it comes to valuing an older brother figure. She even flat out orders Arajin to go see how he's doing.

Something to consider is that while the Minato Kai boys and Mahoro have their respective but serious scenes with Arajin, they still have their quirky (questionable in Mahoro's case) personalities at play. Such as Sakigake singing his heart out in the bathhouse with Arajin while in his birthday suit to Mahoro having a tea party with a blow up doll of her big brother before learning about Matakara's brother. They're still weird and silly but they show how much heart they have and how they can empathize with someone who's at their lowest. And while they might not be the best person to help out, they know that Arajin is the best person to help them out.

Just like how the customer is the best person to help out the upset cat. And what does he choose when he's asked a second time?

He loses his mopiness for just a moment, becomes slightly more confident and chooses his precious Jasmine. Much to the receptionist's jubilation.

I'm gonna be leaning on the optimistic side and say that this will foreshadow Arajin reconciling with Matakara.

As much as I find Arajin to be a detestable and disappointing human being, I will admit that he is capable of growth. Particularly with bonding with his old childhood friend.

Right after defeating Akutaro, we see Arajin help out a grievously wounded Matakara while mildly complaining about it. We see them being on speaking terms during the Pro Wrestling Episode and Arajin even took the time to teach him how to make gyoza. Not to mention that Arajin was also willing to stick around for Mitsukuni's Welcome Party. The guy is not a good person (ESPECIALLY towards women) but he is capable of becoming better. Maybe at a snail's pace, but it's possible.

And we see those glimpses of growth in Episode 9 with him secretly admitting that there was one person (Matakara) who actually would like his rock for a gift.

So I want to be an optimist and say that Arajin will be able to save Matakara from his despair and they'll reconcile. Maybe accepting that he took Matakra's feelings for granted and how he should have treated his former friend better. How he was acting like a dunderhead and how he doesn't expect to be forgiven after treating him like yesterday's trash. I don't know if the puppy boy will forgive and accept Arajin again so quickly after everything that's happened (it actually would make for an impressive writing choice if Matakara chose not to accept him right away but with their being hope that they'll be friends in the future) but their relationship status will be a hopeful one.

Random Thoughts

When the receptionist brought up how the customer has seen other cats, I had two thoughts in mind. The first is from the Group Date til now, the customer has seen other cats at NNL apart from Pu'er.

The second is that this could be an implied parallel to Ichiya. I don't have enough information since we don't know much about Honki People and the Pasts of the Two Genies, but it's possible that Ichiya has encountered other masters in the thousands of years from when he was human to the present. The other cats could have been masters that Ichiya encountered and tried to possess to take revenge against Senya. But as the receptionist claims, Jasmine kept waiting for the customer. In this case, Jasmine was Senya. Ichiya's oldest friend who still longs to see and reunite with him after so many years of separation and regret.

Another thing I want to bring up is how conclusive this segment feels. It feels like it was wrapping up the plotline between the customer and Jasmine. I find this odd since this happened in Episode 9 and we supposedly have three more episodes before Bucchigiri is officially over. Does that mean we won't get more NNL segments in the final 3? Or will we still get them but in different formats? Like an epilogue of the customer bonding with Jasmine (along with getting an official reveal of who she is) or maybe we get a new customer who's set up to meet another cat potentially foreshadowing a final plot point in the series.

And those would be my thoughts on this segment. No lie, I did not expect this to be this long. But given how conclusive this NNL segment was, I felt there was alot to say about this. And what did you guys think of this segment? As before, feel free to reblog this if you agree with what I wrote, disagree or have another interpretation for this scene. So if you think of something, please say that you know.

"Do you know? Do you know? Do you know what this means?"

[internetgiraffekid1673]

KittyBella AU: Alya Analysis

Aiight, I've talked about Zoe for my KittyBella project I'm working on, time to talk about Alya!

Alya is a secondary character instead of a tertiary one---she's the main character's bff meaning she's much more important and gets more backstory and focus as a result. For me, that means I'm focusing less on building her a personality and a backstory and more on psychoanalyzing her and thinking about how her being the main character affects the story.

As Marinette's best friend, we also see Alya act as someone who's good at pulling Marinette out of her spirals and pushing her to act when paralyzed.

Alya is an aspiring journalist who absolutely adores superheroes, can't stand percieved "injustice" whether this be Chloe picking on Marinette or Marinette's unexplained hatred of Lila, and is generally a very confident individual who knows what she believes and isn't afraid to act on it. Alya is also very excitable and can be quite reckless in her pursuit of blog footage. She's also got a tendency to jump the gun---once she has an idea in her head, it's very hard to get it out, the most notable example being her Lady WiFi episode.

All of this paints a picture of someone who is a HORRIBLE fit for the fox miraculous. Like. I'm sorry, Rena Rouge is both hot and cool. But if they hadn't SPECIFICALLY needed the fox miraculous and Alya hadn't already been DEEPLY involved in that particular akuma, I would have given her LITERALLY ANYTHING ELSE.

Alya's NOT the kind of person to sit back and watch and wait to create the perfect illusion, she's NOT a good liar and HATES doing it (this is the subject of at least one major plot), and she's dedicated to cutting through the noise to tell people like it is, not carefully manipulating the noise to get people to believe what you want.

Now, this can work if you make Alya have to learn a lesson the value of restraint and the occasional lie, but that's NOT WHAT WE'RE DOING HERE.

In KittyBella, I'm mainly aiming for Alya's miraculous powers to work WITH her instead of AGAINST her. She's going to take the role Chat Noir frequently takes in canon of being willing to take a lot of risks and sometimes moving *too* quickly. Scarabella is going to use her boldness and confidence to her advantage by never hesitating and quickly jumping into plans while Kitty Noir is going to have to be the one who shows restraint and waits for the perfect setup to strike.

Now don't get me wrong, Alya is still going to be the leader of the pair. Zoe simply lacks the self-assurednesss to make it happen. When Alya says to do something, Zoe does it, and Alya will frequently yell "FOLLOW MY LEAD" and Zoe will run chasing after her. But unlike in canon where Marinette is the planner and Chat is simply a tool in those plans, I think a more common interaction for KittyBella is this:

Kitty Noir: "Alright, so what's the plan?"

Scarabella: "Uh, hit it?"

Kitty: "Okay, but like how? We don't want the akuma to get defensive when we get close."

Bella, sheepishly: "I hadn't gotten that far yet. I was kinda just gonna try running at it and see what happened. What do you think?"

Kitty: "Oh wow. Me? Um. Okay." *takes some time to observe the akuma attack pattern* "I think X may be the akumatized item? If I keep it distracted, you can use your yoyo to grab it!"

Bella: "Sounds good to me! I'll signal you when I'm in position!"

Kitty: "Wait!"

Bella: "What's the matter?"

Kitty: "Just. . .please be careful."

Bella: *winks* "Don't you worry about me Kitty Cat! Don't you know ladybugs are always lucky?"

And then Kitty's nose starts bleeding cuz she's SO whipped lol.

In addition, we know that the Ladybug's lucky charm tends to change based on how the holder thinks. While Marinette tends to come up with convoluted multi-part plans, using the lucky charm in addition to numerous other items to craftily trap or trip up their opponent, Adrien's tends to be more straightforward in a "just hit it" kind of way.

For Alya, that means I want all her lucky charms to involve an element of . . . Endangerment for lack of a better word. Alya is obsessed with superheroes and is batshit insane enough to go running into a magical battle just for blog footage. The way her brain works is "When there's a problem, confront it head-on by throwing yourself directly in the line of fire."

I will DEFINITELY have to rewatch the show and/or reread the script for this project so I can look at some of the lucky charms and the villains and whatnot and think about how the kwami swaps would change that, but I think a good example right now would be in The Bubbler.

In that episode, Marinette's lucky charm is a wrench, which she uses to disassemble an hvac and have Chat use the air pipe to deflect the bubbles.

I think for Alya, hers would, first of all, skip a couple steps, and second of all, wouldn't be used to deflect the bubbles and instead would be used to *pop* them. A little more direct, a little more dangerous. Since lucky charms are a little unintuitive by nature, I think it would be really fun if it was something like a pressure washer that she's gotta attach to a garden hose. Not exactly a weapon, but certainly useful, and not as convoluted as DISASSEMBLING an h-vac, but still cleverly utilizing her environment and observational skills.

And while Scarabella is hosing the Bubbler down, Kitty can take the opportunity to either cataclysm the wand or the soap bottle, since both render the akuma useless.

And of course, when thinking about a Miraculous Holder and their power is thinking about their relationship with their kwami. While we get a decent idea of how Plagg and Zoe would interact in canon, Tikki and Alya don't really interact without Marinette as a buffer. It's all through the lens of Marinette's kwami and Marinette's bestie.

Critically, I think they'd, uh. Clash a little bit. Tikki is very supportive and loving, but she's also bossy and very concerned with making sure her holders are doing what she percieves as right. While Tikki doesn't really criticize Marinette's Ladybug related actions (major flaw in canon there, if she's criticizing anything it should be that), she'll always lecture Marinette for using her powers selfishly and always encourages Marinette to be kind, to a degree I think can be detrimental.

I think this would clash a LOT with Alya's strong sense of justice and her own confidence and bossiness. At first, I feel Alya would be a bit starstruck by Tikki and try to do exactly as she says, but it won't take too long until Alya gets caught up in the excitement of a plot and disregards her Kwami's advice. I think, where Tikki might encourage kindness and forgiveness towards someone like Chloe, Alya would be prone to ignoring that in favor of calling Chloe out and stopping her from being cruel to others.

This could all easily make Tikki a little twitchy, and may result in a schism or a few shouting matches that make the powers of the Ladybug far more difficult to use (I am slightly revamping the magic system I think because this is fanfic and I can do what I want, but that's another post). Point is, I want them to have to work on their relationship and teach EACH OTHER about different ways to go about being heroes. I definitely want the equivalent episode to Lady WiFi to be a big moment for the pair of them.

Finally, for my psychoanalysis of Alya, I wanna talk about her relationship to her family. I think you can mine a lot from the way people behave around their families and how it reflects into the rest of their lives.

Alya takes on a lot of responsibility in her family with wrangling the twins and acting as Nora's most consistent sanity-check, and that shows in how she easily slides into "older-sistering" a lot of her friends---she's frequently the one who gives people the push needed to try something and also the one who reels them back in when they get too excited.

I love this about her, but I do want it to grate on her just a little bit. She'd like to not always be The Responsible One thanks. Is it really so bad that Alya wants to be a little bit crazy sometimes and not have everything else fall apart?

Her role as Scarabella gives her some release and some strain in this aspect. Now she's responsible for ALL OF FREAKING PARIS, and she's an example for THOUSANDS. . .but she's also got a lot more freedom in what type of example she is. She can be a little less chilled out and mature as Scarabella and a little more wild and fun, because she's no longer playing off her bombastic sisters. She's now playing off her far more skittish partner.

I also think Alya, as a middle child with a strong-willed older sister and two chaotic younger sisters, learned to express her opinions LOUDLY and EARLY. Alya subconciously worries ALL THE TIME that if she doesn't make her voice heard, then she'll get drowned out. Fear of fading into background noise is a big deal for Alya, and it's a lot of why she wants to pursue journalism---making her voice heard.

It's not that she can't let others take the spotlight; having siblings means you learn to share whether you like it or not. It's that she thinks everyone else wants and is fighting for tje spotlight just as much as her.

She doesn't realize that some people DO NOT LIKE being perceived. Less in the Juleka "I have social anxiety but I do actually love when my peers acknowledge my talent" way---she's perceptive enough to know when that's happening---and more in the Nathaniel "attention is annoying not gratifying" way. She doesn't have a whole lot of respect for people's privacy, and it's something she'll have to learn.

Similarly, she's not great at recognizing Sabrina or Zoe types: people who would like to be heard but find it difficult to express that over the louder voices. But critically, unlike Juleka, these guys are gray areas. They have enough confidence to state their opinion *sometimes* but find it easy to let a louder voice drown them out and frequently find themselves shunted to the background without anybody really trying to do that.

Alya's going to have a bit of a hard time with this, and her relationship with Kitty Noir and with Zoe are going to be VERY good for helping her figure this out.

Finally, I want Alya keeping her identity secret from her family to be a big source of angst for her. In sharp contrast to Zoe, who's never had a family to rely on and is used to not telling them important things, Alya is really close with and loves her family, and keeping secrets from them isn't easy.

Every time her parents worry about Hawkmoth and the clearly teenage heroes fighting him, every time her little sisters gush over how cool Scarabella is, every time Nora unknowingly puts herself at risk, Alya's heart breaks a little more. Every lie she has to tell her family weighs heavily on her and it makes her moody and exhausted.

And importantly, as I established above, Alya is not a good liar. I want her parents to start putting together the pieces on the civilian end and for her sisters to start putting it together on the hero end WELL before a proper reveal. They start finding subtle ways to support and help her and are wholly unsurprised when Alya comes clean (which will probably happen after the reveal to Kitty, but well before the story's end).

So to sum up:

Alya is a bold, confident, and sometimes reckless person and I want that to reflect in the way she weilds her miraculous. Her lucky charms will all have an element of putting herself at risk to make them work, and of her and Kitty, she's the more impulsive one. She leads with her heart, Zoe leads with her head. Additionally, her relationship with Tikki is going to be a bit more explosive than Marinette's as the two butt heads over how to solve problems. Finally, Alya's relationship with her family is going to heavily affect the story from all sides!

[miraculouslbcnreactions]

Sorry if you've already talked about this but I just found your blog and I have a question. I basically stopped watching the show and Gang of Secrets but I'd like to know your thoughts on how the show handles secret identities?

Personally I really like secret identites as a trope and the way you can use it to make different character dynamics, and I feel like the show underutilizes it at best and at worst seem actively annoyed by the constraint they gave themselves.

Like this is somehow a show where when Alya and Nino found out each other's identities, it directly contributed to them each getting taken out in Heroes' Day, and when Marianne got Akumatized she instantly spilled the Guardian's existence, and both time the two leads have had identity reveals it lead to a world-destroying catastrophe, and yet half the fandom and seemingly the writers act like it's at most and inconvenience?

Let me know if I'm off or seasons 4 and later do anything to contradict me but it was one of my issues at least and I felt like there were so many fun things they could have done with the set up. Sorry again if this is too long/rambly or whatever lol

Long asks are fine! Heavens knows I tend to make long posts. It's why I use the queue instead of just posting things as I get them.

Anyway, secret identities and identity shenanigans are the things that brought me to this show. They're nothing new in superhero setups, but most shows in this genre have the identity stuff as more of a fun bonus element than the main focus. The idea of a show that was more centered around these concepts via a romance plot sounded like a blast!

It has not been a blast.

The main problem with the identity stuff is that the show's guiding rule seems to be maintaining the secret identities at all cost because a reveal means no more love square and, at this point, it's pretty clear that thy're going to drag the love square out until the bitter end. This means that they actively avoid anything which puts them into a position to push a reveal. The problem with that is that the love square isn't some cute running gag that has no real impact on the plot. The love square is the show's main focus, so you cannot treat it the way you normally treat an identity shenanigans setup.

To give an example for contrast, the show Phineas and Ferb has a running gag involving the titular characters' pet platypus Perry. Unbeknownst to the boys, Perry is a secret agent who saves the world on a regular basis while his "owners" remain oblivious to the fact that Perry is anything more than a normal pet platypus. It's a good running gag because there's no reason why the boys need to find out Perry's secret. There is no overarching plot that's in limbo until this moment happens. It's just a silly thing that could be completely removed from the show without any major impacts.

Consider the difference between that and the love square. You remove the love square and you have a wildly different show because the love square isn't a gag, it's a plot and plots need to progress to feel meaningful. Marinette and Adrien should be growing closer on at least one side of the masks and they should be doing so in a way that makes it feel like the reveal is drawing ever closer.

For example, the fact that they're now dating should be a source of tension. The last time these two dated someone, they both ended up single due to the lies that come with a secret identity. But while Lukanette and Adrigami both lasted a few weeks at most, Adrienette got a whole season without a single identity-based conflict because acknowledging the identity conflict means progress on the reveal and we can't have that because the reveal is apparently being saved for the end of the show.

We don't even get much in the way of developing their relationship because letting them grow closer in a meaningful way means knowing more about each other which, once again, means that a reveal becomes inevitable. This is probably why we got the Derision retcon where Marinette suddenly couldn't talk to Adrien while dating him. No talking means no growing meaningfully closer means no reveal.

It's incredibly frustrating because reveal plots simply aren't structured to be long running plots. This is why most identity shenanigans media either focuses on the reveal and ends up relatively short (ex: the movie You Got Mail) or does the running gag thing where the identity stuff is a source of comedy, but the actual plot is something else that would technically work perfectly fine even if you removed the identity hi-jinx (ex: the anime Spy X Family).

When it comes to the love square, my preference is to take the first option and make it resolve within the first few seasons, but if we must draw it out until the show's end, then I would make all of the following changes to turn the square from a serious plot to more of a running gag:

Do NOT let Chat Noir confess. Instead, make it that he's always setting up romantic dates or confessions for Ladybug that end up stopped because of an akuma or fans or whatever. This would make Marinette's ongoing failures feel more balanced as they're both doing the same thing. It would also turn the confession into more of a comedy element instead of a dramatic one.

Focus more on plot elements unrelated to the love square, distracting the audience from the romance with shinny subplots like a Lila take down.

Don't have the secret identities be a source of conflict. Have Chat Noir totally uninterested in a reveal.

Have Hawkmoth be someone other than Gabriel. The less serious the show's basic setup, the less serious audiences will expect it to be

Of course, all of those are pretty massive changes to the show's basic setup, which is why I say they should have just let the reveal happen. Then they could have actually let all sorts of fun moments happen as we build to the reveal because it's no longer a thing that they writers have to avoid. As someone who has written multiple stories with a reveal, the fun really is planning it all out so that the tension and/or the comedy builds and builds to a dramatic crescendo where everything feels oh so satisfying.

When you live in fear of the reveal and awkwardly shoehorn things in, you get boring things like Gabriel's identity being leaked from a random play, Marinette's crush being revealed by freaking Andre, and Nino's identity reveal leading to nothing interesting because it can't because then we'd be drawing closer to a love square reveal and, well, you know the drill. It's also why you get messed up crappy episodes like Chat Blanc and Ephemeral. Episodes that are just there to prove that the reveal is a bad thing you shouldn't want!

There actually is solid logic as to why a reveal might not be the best move, but we don't even get to see that discussed. Chat Noir just pushes for a reveal because love while Ladybug stays focused on risk mitigation and it's so boring because a good show would let them have an honest discussion of the risks verses the rewards to help drive the conflict leading towards a reveal as a lot of the rewards are only realized if these two already know each other, which is a great tension build! But we can't build tension like that because then you'd be letting them have actual team dynamics where they talk about things and talking about things means bonding which means a build up to reveal and I think you know the drill by now...

This was a bit of a ramble, but hopefully it addressed your question! This is a broad topic that has a lot of ground to cover, so feel free to clarify if you wanted my thoughts on something else. I love identity reveals, so I am happy to babble about them. There's nothing more satisfying then setting up a good one, even if it takes tens of thousands of words to make it hit just right!