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brenda-cast · 4 months

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Cosas que me gustaría que hiciera el amor de mi vida si algún día lo encuentro:

1.- Quiero que me agarre de la mano a donde sea que vayamos.

2.- Que me diga y me demuestre todos los días que me ama.

3.- Quiero ir al parque con el y hacer un picnic.

4.- Quiero ir al mar con el.

5.- Aprender a convivir con su familia y el con la mía de manera sana, respetuosa y tolerante.

6.- Quiero salir a mil citas con el.

7.- Llevarlo de compras.

8.- Que me lleve de compras.

9.- Que me de Flores sin importar el día, la hora o la ocasión.

10.- Que me abra la puerta, me jale la silla, me pase del lado de la banqueta. Que sea un caballero.

11.-Que yo lo acompañe a todas sus fiestas de sus amigos y el a las mías y nos divirtamos.

12.- Bailar con el.

13.- Viajar con el.

14.- Llenarlo y que me llene de detalles, como cartas, canciones flores, dulces chiquitos.

13.-Ver la puesta del sol con el.

14.- Caminar por un campo de flores gigante el y yo.

15.- Darnos de comer en la boca.

16.- Demostrar cada día que nos seguimos queriendo y amando como las primeras veces.

17.- Que me agarre y me bese como si no hubiera un mañana.

18.- Que no me coja, que me HAGA EL AMOR.

19.- Darnos sorpresas.

20.- Cambiar algo malo uno del otro si la relación empieza a ir por mal camino.

21.- Tenernos confianza en todo y respetar nuestras ideas.

22.- Desearnos todos los días.

23.- Hacer tonterías para reírnos entre nosotros mismos, sin pasar el límite del respeto.

24.- Tener los mismos intereses, sueños y metas.

25.- Que me trate como una princesa.

26.- Que sea empatico conmigo y mis sentimientos.

27.- Que nunca dudé de mi nunca por ningún motivo.

28.- Que cuando discutamos, nunca nos gritemos y tratemos de resolver las cosas, o darnos un tiempecito en lo que se nos baja el coraje y después resolver juntos.

29.- Que cuando le cuente algo malo, o triste me escuche, me apapaché y me consuele. Y después de un tiempo me diga si estuve bien, mal o que puedo mejorar.

30.- Que sea una persona comprometida.

31.- Que me consienta.

32.- Que me haga sentir confianza hacia el.

33.- Que me motive a ser mejor persona, y no tenga prejuicios de ningún tipo.

34.- Que me proponga matrimonio de la forma más bonita que el pueda imaginar.

35.- Que no tenga ningún vicio malo o nocivo.

36.- Y que todos los días de su vida cuando me de un detalle, me haga reír o me vea feliz diga “Mereces esto y más princesa”

Confío en la vida en que un día nos encontraremos 🫰🏻✨

#amor #perfection #algun dia #sueños #metas #relacionship #amor bonito #cielo #eden

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nenagang · 7 months

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#metas

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linisiane · 7 months

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The Self-Aware Player of Harry Du Bois

It's fascinating to me to think about how satire is used as the 'touch grass' or 'be fucking for real' genre. Oftentimes it's making fun of tropes/conventions by humorously contrasting them with reality, which is exactly what Disco Elysium is doing with the RPG!

It goes hand in hand with the idea of RPGs as escapist power fantasy. RPGs are often thought of as the ultimate self-insert fantasy by its detractors or worst players, ahem looking at all those DND horror stories about entitled mangsty murderhobos.

One of the most infamous criticisms of Disco Elysium is its lackluster combat.

ID A screenshot of a random forum discussion post by dungeon master Zed Duke of Banville. It reads: "Disco Elysium has neither combat nor exploration, and therefore is missing two of the three fundamental components (or sets of components) that define the RPG genre." End ID

The game has essentially bordered off your ability to make Harry into a power fantasy murderhobo because you just are physically unable to equip an longsword or cuisse to murder your average citizen on the street of Martinaise.

But even on a less mangsty level, it subverts a lot of the basic expectations of RPGs.

Like the encounter with the racist lorry driver! You never get the ability or quest to change his mind, you only choose how you react to him.

Where other RPGs might let you act as the white savior or the white knight of chivalric romance, no questions asked, you're changing the minds of everybody who's wrong so we can all get along, Disco Elysium really makes you confront your ability to whiteknight, makes you confront if whiteknighting is even helpful, and why you wanted to whiteknight in the first place.

It’s part of the fun/humor experience of Disco Elysium that you at first expect to solve the world’s problems with a couple quests and lines of ‘good’ dialogue and then get socked in the faced with the fact that yeah, you can’t do much, you’re one person, what did you expect, asshole? Cuno doesn't fucking care!

By subverting our RPG expectations, it forces us to become more aware that these expectations even exist and how they fall short of reality. Yet, despite this subversion, the world of Disco Elysium feels so much realer to us.

ID a screenshot of Disco Elysium dialogue YOU - "Don't call it a dump, you've made it nice and cosy here." NOVELTY DICEMAKER - "Yeah." She stares out of the window, not really hearing your words. "Or maybe it's the entire world that's cursed? It's such a precarious place. Nothing ever works out the way you wanted." "That's why people like role-playing games. You can be whoever you want to be. You can try again. Still, there's something inherently violent even about dice rolls." "It's like every time you cast a die, something disappears. Some alternative ending, or an entirely different world...." She picks up a pair of dice from the table and examines them under the light. End ID

Like, Neha is highlighting this little meta element of how you can stack your Harry in any RPG to pursue a certain ending or situation, but the actual outcome is still influenced by a dice roll out of your control.

A lot of the satirical humor in Disco Elysium comes from the absurdity that you can do everything right or everything wrong, and the dice can still fuck it up or save it for you—not just for things like high-fantasy attacks, but mundane things like remembering your name.

The dice are, at their core, about how RPGs aren't just for the control fantasy, of winning high-fantasy battles, but also can represent life as it is, mundane and uncontrollable.

Similarly, Harry is clearly written—complete with all the 'lore' that this would entail—to couch his RPG protagonist nature in the real.

If RPG characters are blank slates? Let's give ours amnesia! Need fast travel?! Kim teases the 41st Precinct for constantly running everywhere by calling it the Jamrock Shuffle. He needs to have deep and intimate conversations with everyone, even when they're strangers? Yeah, that's so weird we gave him the name 'Human Can-Opener,' and everybody remarks on his uncanny manipulation skills.

It's commenting on difference between controlling an RPG avatar and navigating in a human body.

As Kurvits said: “In reality we do not have control, or complete control, of our minds. Just like our body, it is something that we give-not even commands wishes to, and we hope it's gonna do it. We hope it's not gonna break down, we hope it's not gonna rebel against us.”

In one type of RPG fantasy, we don't even question our total control and even assume the joy is from the control.

But in Disco Elysium, we lack control and find joy in it anyway. That is the fun of the game making us, the players, 'self-aware' about its RPG elements, and it especially resonates with anybody not able-bodied, anybody neurodivergent.

#disco elysium #metas #My thoughts #harry du bois #harrier du bois #human can-opener #jamrock shuffle #yeah so im reposting my meta because i worked really hard but i feel like it was too long for anybody to appreciate :')

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armed-with-a-waffle-iron · 7 months

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Stephanie Brown ACTUALLY having the character arc that fanon pretends Jason Todd had (plus a defence of canon Jason)

What I'm really saying is that Stephanie Brown is underappreciated, Jason Todd is often misinterpreted, and, though it should go without saying, ignoring canon is poor media literacy. So let's actually analyse canon and get to the bottom of what the stories are trying to say and how they use their characters to tell this, as opposed to just which character should we stan.

I'm arguing that Stephanie Brown's story actually features a redemption arc that sees her transform from a violent, almost murderous teenager into the most unwaveringly hopeful of heroes and that Jason's story is about a villain who we're meant to empathise with to expose the cracks in the Batman's heroic facade; a Frankenstein's monster if you will. Here's a numbered list:

Part 1: Outgrowing Violence, Anger and Murder

A big part of Stephanie Brown's growth in canon is her learning not to kill or use excessive force. But it's not as simple as just killing is wrong, don't question it.

Let's begin with the narrative's relationship to violence, anger and murder. Why doesn't Batman kill? Because "[those] who [fight] with monsters might take care lest [they] thereby become a monster. And if you gaze for long into an abyss, the abyss gazes also into you". If he kills, he's playing god, choosing who gets to live and die. No one deserves that kind of absolute power and absolute power also corrupts. Batman doesn't want to lose sight of himself or his cause. Deliberate murder is treated VERY negatively in the Batman mythos.

Enter Stephanie Brown.

Stephanie was a working class latchkey kid who grew up on the wrong side of the tracks. She had an abusive, criminal father, who was in and out of jail, and a mother struggling with addiction, who Steph became a carer for at just 15. Steph also became pregnant with the child of her horrible ex. At 16, she gave birth to that child and had to give her up for adoption. Steph is also a survivor.

The world was never kind to Steph and left this teenager with a hell of a lot of bitterness and rage which her vigilante career became an outlet for. You can tell by the way she fights since Steph fights DIRTY; she'll tug hair and spit in your eyes and strike below the belt and catch a kick to twist your ankle and dislodge your already broken nose. On the one hand; the narrative tells us Steph is resourceful. She's 5'5", 130 lb and has zero powers, but can always find an opening even when going up against Gotham's grizzliest. It's telling that quick thinking, savviness and spontaneity become her thing when she becomes Batgirl; Steph is the wild card. On the other hand, she was a real diamond in the rough and a complete loose canon. In her first arc, it's Batman who stops her from making the biggest mistake of her life; killing her dad. To deliberately kill; to play god, is to lose yourself, remember. Her first arc is about not being defined by who your parents are and about not giving up on yourself. Batman basically tells her, there's hope for you yet Stephanie Brown, by getting her to spare her dad. And she does. And so began her superhero career.

Nonetheless, it's never that simple. Steph is still a bitter, angry teenager, no matter how many jokes she cracks. It becomes a personal crusade when she, now Robin, discovers that The Penguin is using children as runners. It takes Cassandra Cain to stop her from inflicting anything she may regret.

The narrative wants to show us how cruel the world can be and that it isn't black and white, either. The story ends with an angry Stephanie lamenting "why". It's a "why" she is asking herself too. Why does she do what she does? And it informs us that she, and maybe us the reader too, still have a lot to learn. Murder's not the answer but what is?

Stephanie later saves Bruce by almost murdering serial killer Victor Zsasz. Bruce reprimands her and she cries, quite honestly, "I don't get it, I really don't", following on from where we left off in Batgirl. "There are always other options than to kill" asserts Bruce, forget not being on the same page, they're reading different books. The thesis of the story is what Bruce should have told Steph when she was an angry 15 year old about to murder her dad; "[those] who [fight] with monsters might take care lest [they] thereby become a monster". The world's cruel, Steph, but that doesn't mean you have to be too. "Are you firing me?" "No, I'm teaching you".

Over 2 years down the line, an around 19 year old Stephanie, establishing herself as the new, hoping-inspiring Batgirl, is now teaching a brash Damian Wayne what she's learned.

"To murder or not to murder" is just a plot device to the themes of overcoming your own anger at the world's cruelty to contribute good, coming to terms with shades of grey, not giving up on yourself and staying hopeful in the face of adversity and horror. These are Stephanie's arcs and as a consequence, she goes from would-be-murderer to Gotham's cheeriest caped crusader.

Part 2: Double Standards and Second Chances

Another huge part of Stephanie's story is her overcoming double standards and doubters, to earn her own second chances. Her resurrection and rise to the role of Batgirl were choices made to hammer home this theme; it's never too late to turn things around.

There's some juicy metatext to analyse here too. DC editorial's treatment of Stephanie during War Games was horrific and panned by both fans and writers. To reperate for these harms, Steph was retconned back to life and then made Batgirl during Batman: Reborn. Here's a quote by Batgirl (2009) author Bryan Q. Miller on what his run aimed to bring out of Steph:

The whole point of Stephanie's resurrection and take over of the Batgirl title was to give her a redemption arc.

In text, Stephanie was unfairly treated too, notwithstanding that she was brash and had a massive violent streak in her Spoiler and Robin days. Tim Drake constantly condescends her and tells her to give up vigilante life, even though she was ALWAYS a match for Tim according to Convergence: Batgirl. Cassandra Cain constantly underestimates Steph. Bruce Wayne tells his allies to cut off ties with Steph and then later fires her as Robin for DISOBEYING HIM as if that's not the first thing Dick Grayson ever did as Robin. Barbara Gordon tells Steph she has a death wish. Dick deems Steph too reckless (moments before he resurrects a zombie Batman). And Damian is an entitled brat who gives her a hard time for no reason. Everyone doubts Stephanie and it generally says more about the doubter than it does Stephanie.

Stephanie was never great with authority or criticism so she still went out there and earned her second chance. And it felt rewarding when her doubters came around too.

Stephanie was brought back from the dead to be redeemed and man did she take that chance!

Part 3: What is Jason Todd's Story Meant to Tell Us and My Defence of Canon Jason

Jason Todd returns from the dead as a ghost of Batman's past; he is the living embodiment of Batman's greatest mistake who couldn't stay buried and is back to haunt him. He's a character we are meant to empathise with but he's a villain nonetheless. He's not irredeemable but for the most part his story is not really about redemption. Succinctly, it revolves around the idea that "we are each our own devil, and we make this world our hell” to quote Oscar Wilde.

When we first meet the resurrected Jason, he's a cold-blooded murderer who's slinging guns and using The Joker's old moniker. These choices are made to emphasise that he went down the wrong path; he's breaking Batman's "don't play god" rule and his actions become eerily closer to those of the Clown Prince of Crime than Batman's. In fact Nightwing and Batman spend some quality time together in the next two issues because Nightwing is the foil to the Red Hood; he's what Bruce considers his greatest success. Remember that thing about "those who [fight] with monsters might take care lest [they] thereby become a monster"? Well Jason DID become a monster. And if he's the monster, then Bruce Wayne is Frankenstein.

We're not supposed to think "yes, kill the The Joker, Jason", we're supposed to think "good god, please Jason, it's not too late to turn your life around". Here's Dick and Jason being the exact opposite of each other, an issue apart.

So what was Jason's villainous return trying to say? For one, that people are the products of their circumstance, lest we forget Jason was once an eager and studious Robin who just wanted to be part of something greater when life, but specifically Bruce, sent him awry. This is also a story about Bruce which tells us says that our mistakes have consequences that don't stay buried, and that we will always be forced to reckon with our histories or it becomes everyone's problem. This next panel shows this best. All of Jason's killing and torture and fear-spreading and chaos does not come down to some "murder or not to murder" debate, it comes down to his relationship with Bruce. He is the monster that Frankenstein created who's back to haunt him and no one is safe.

Jason's initial Red Hood arcs were never supposed to pose the question "should Batman kill The Joker or not?". The answer is no and always has been. They are supposed to show us how Bruce's poor fatherhood of and partnership with Jason Todd led to all this horror. And Bruce can't turn back the clock, he has to reckon with the consequences of his actions in the present or more people will get hurt. It's significant that these first arcs don't end with Jason returning to the manor and seeking help surrounded by family.

We then see Jason and his issues with Bruce threaten the lives of others like when he beat Tim half to death twice, tried to blow up Mia Dearden and then tried to become a murderous, gun-touting Batman after Bruce's "death".

Once Dick Grayson becomes Batman, the narrative sheds a bit more light on how Bruce's Frankenstein created a monster in Jason; Bruce wanted Jason to be another Dick Grayson.

The red hair is a perfect metaphor. Jason is naturally red-haired and he is now balding because Bruce made him dye his hair black so he'd look like Dick as Robin. That sums it up for me. Bruce really created his own demon here and Dick, as the new Batman, is trying to make amends with the sins of the Batman's past. Jason's a great choice for a Dick Grayson villain because of their histories, considering Dick Grayson is the legacy Batman.

"I tried really hard to be what batman wanted me to be...which is you." Jason tells Dick.

That line is so painful and way more recognisable and relatable than anything fanon has produced.

"But this world...this dirty, twisted, cruel and ugly dungheap had...other plans for me."

Look no further, this is who Jason Todd is.

That's a powerful story if you ask me, and this is why I like Jason Todd as a character; a villain I pity deeply, who is portrayed as a product of their circumstances without diminishing their agency and who makes me see the cracks in the hero's facade because they are the monster our "hero" created. He's also a very nuanced foil to the ever-shining light that is Dick Grayson. The appeal to Mary Shelley's Frankenstein isn't that the monster murdered people. I also would never swap canon Jason out for, I dunno, Wayne Family Adventures Jason who's the amalgamation of 3 or 4 common fanon tropes. This is my two cents.

#stephanie brown that ball of anger and vengeance that we saw grow into one of the most well-rounded capable and cheerful bats around #stephanie brown #vengeance is purple #fanon vs canon #jason tood #robin #batgirl #the spoiler #red hood #batman and robin #dc comics #comics #metas #batman #batfam #wayne family adventures #bruce wayne #dick grayson

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elmundoestahechodefrasesyletras · 2 months

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Cuando te dan una oportunidad de cambiar tu vida, debes estar dispuesto a hacer lo que sea con tal de lograrlo. El mundo no te da cosas: tú debes tomarlas.

#libros #notas #frases #citas #escritos #los siete maridos de evelyn hugo #taylor jenkins reid #evelyn hugo #oportunidades #vida #metas #cambiar #mundo

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aenreth · 1 year

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King Allant led Boletaria with a round table of brave knights. The royal Twin Fangs, Vallarfax and Biorr, Alfred, the knight of the tower, Metas, the knight of the lance, and the brave tribesman, Long Bow Oolan and his fearsome legions.

But today, Boletaria is an abysmal mess. Vallarfax was lost and Biorr slipped through the fissure, never to be heard from again. All the rest, along with Boletaria, have been devoured by the fog, and will soon be prey for the Demons.

The Boletarian knights are no longer.

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andreal831 · 28 days

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Can we please stop pretending Klaus is some Machiavellian genius?

I get the show is always trying to tell us he is a mastermind, but there are so many more clever characters who actually set up long term plans to achieve their goals (Lucien, Celeste, Katherine). What did Klaus ever do that was ever strategic or showed any superior intelligence? If anything his intelligence was severely stunted, he was a thousand years old and still acting like a teenager half the time. He made rash and impulsive decisions and they worked out sometimes. They had just as much of a chance of blowing up in his face. This doesn't make him smart. If he wasn't so indestructible, he wouldn't have been so lucky.

Throughout history, we constantly see Elijah having to remind Klaus not to draw attention to them. All he has to do is stop being a serial killer or risk bringing the one man he is terrified of to town. You would think it would be easy, yet he is unable to control himself. At no point do we see him ever preparing to confront Mikael. He only runs from him. He could have created an army to trap Mikael or befriended witches. But no, instead of coming up with a plan, they all just run. Not much of a master strategist. The fandom loves to say it was stupid that Rebekah called Mikael to New Orleans yet doesn't want to talk about how stupid it was for Kol and Klaus to go on a killing spree which they knew would attract Mikael. And he does this not once, not twice, but repeatedly in every flashback we see, all the way from the first flashback in 1001 to the last in the 1950s.

Speaking of the 1950s, what great strategic plan was it to tell Elijah he buried their siblings at sea? He isolated the one family member he had left while Mikael was hot on his trail. This turned Elijah against him and what did Klaus do? Did he come up with a masterplan? No. he ran and body jumped.

Klaus' strength isn't his intelligence but his durability and his psychical strength. Which is why he was so determined to break his curse. He needed to be stronger than everyone, including his siblings. But what did any of that get him? Tristan and Aya at least built a cult and created weapons that could even take down Originals. Yet Klaus wasn't able to come up with any plan to take down Mikael?

We see Elijah tell Klaus that Klaus 'built' New Orleans, yet we never see any indication that Klaus is politically minded. In fact, in season one, he is in charge and a war breaks out in large part due to his scheming. He is constantly killing political leaders (the mayor, the mayor's son, the witches' leaders, every faction head, etc.) and then is surprised when they can't find peace and everyone is against him.

The only time Klaus had a long term plan that actually seemed clever was the lie about the sun and the moon curse. Not only did it take them nearly a thousand years before it actually worked, but he wasn't even the reason it worked. He was tricked by Elijah and literal teenagers. Elijah tricked him to get him to MF, the MF gang tricked him into believing Bonnie was dead, and then he fell for that exact same trick and believed that Elena was dead.

Throughout the shows and even flashbacks, people act like Klaus is this great strategist. And maybe he is compared to the children he is targeting. But when you put him up against his equals (Lucien, Mikael, Dahlia, etc.), he doesn't compare.

Celeste and Genevie were manipulating Klaus left and right in season one. In the short '9' months he was in New Orleans, he destabilized it so much that Hope nearly died. She only survived because of Marcel. They only got her back because of Elijah and Hayley. In fact, Klaus' plan to bring Hope back before they were ready is what drew Dahlia back so quickly, leaving them unprepared to face her.

Klaus wasn't responsible for Mikael's first death. He got lucky that everyone else (the children he was targeting) came up with a plan to trick Mikael. Mikael's second death was simply overpowering him, no outsmarting there. In fact, Mikael would have killed Klaus if his family hadn't saved him earlier.

Yes, he 'tricked' Dahlia into believing he betrayed his family, but this wasn't a trick. He actually did betray them. He murdered Gia and turned Elijah against him once again. He is unable to scheme without actually hurting those close to him and alienating the people trying to help. He lies that he killed Aiden, again another time he just jumps on the first opportunity he sees, and by doing so, he alienates all of their allies and endangers his family. The only reason they end up beating Dahlia is because of Esther. They all would have died based on Klaus' plan. Sure his idea to curse Hayley did technically save her life but he didn't do it for that purpose, he admitted he did it to punish her. There was no long term scheme. He hadn't thought through how it would impact Hope or even what he would tell his daughter as she got older.

Then in Season 3, Lucien had Klaus on his knees before his big brother and big sister swept in to save the day. Even taking down Tristan was thanks to Cami and Freya's plan. He had to be saved from the Strix by Hayley, Marcel, and Stefan. They have their big Thanksgiving dinner where they confront the three, but all it does is show that Lucien, Tristan, and Aurora had out schemed the Mikaelsons. The only thing the Mikaelsons could do was overpower them and threaten them.

In Season 4, Klaus hardly does anything and Season 5 Klaus is an absolute mess. You're telling me this legendary strategist couldn't save his daughter and her mother from a hundred year old vampire? He couldn't figure out a way to find her? In the seven years they were forced apart, he wasn't even trying to find a way to reunite his family? He wasn't a strategist, rather he waited for events to happen and then reacted impulsively, hoping it would work out. His plans are all based on emotion and vendettas, not strategy or intelligence.

Yes, he is Machiavellian in a sense that he has nearly no empathy and will do whatever it takes to get what he wants, but he lacks the cunningness to be truly Machiavellian. Instead he is just a narcissistic psychopath.

#let's be honest #klaus isn't that clever #he's just strong #and cruel #so people think it's clever #his plans had just as much odds of failing #he was just as easily manipulated as he was able to manipulate #anti klaus #not really #but just in case #tvdu #the originals #the vampire diaries #tvd #the mikaelsons #klaus mikaelson #tvdu metas #metas

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stellasolaris · 10 months

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Why Stella should not have been rebranded as the Fairy of the Shining Sun

After nearly a year, I have finally decided to write a second part to my previous post in which I said I was not a fan of the writers rebranding Stella as the Fairy of the Shining Sun.

To start, let's first take a look at her family background. Her parents are the King and Queen of Solaria—the proverbial sun and the moon. It is apparent from their distinct color palettes and the origins of their names that they represent the sun and the moon. Stella, with her original title as the Fairy of the Sun and the Moon, naturally has qualities and powers from both her parents. To take away her moon powers would be a disservice to her character, as it means taking a piece of her identity away.

While I subscribe to the idea of her having access to solar and lunar powers, I don't mind her lunar powers being secondary to her sun powers. Here's why.

Her moon-based spells, which she rarely uses, tend to be more defensive and tamer than her sun-based spells. (3.14, 3.26) For someone like her, who is bold and daring, and prefers offensive tactics over defensive ones, it makes sense that she would lean more toward using her combative solar powers. (1.21) It's what comes naturally to her.

Her relationship with her father, despite the neglectful behavior of both her parents, appears affectionate. (3.19) I like to think her strong connection with her father and home planet is in part why she prefers and is more in tune with using her solar powers than her lunar powers.

There is some debate over whether or not she should have a secondary power, with some suggesting that she would be too powerful if she had two powers. I disagree.

Her powers make narrative sense when you think of them from the standpoint of light rather than separate celestial bodies. In technical terms, moonlight is reflected sunlight. These two are not separate. In a way, her solar and lunar powers are essentially the same, just in different fonts.

It would be logical for her powers to be influenced by the level of light in her surroundings, allowing her to draw either from solar or lunar energy. We already know from canon that she becomes weak and powerless in the absence of sunlight. (2.04) In such situations, her lunar powers could become activated. This limits her abilities and prevents her from becoming too powerful.

Recall that one of the motifs regarding her character development is the use of mirrors. It serves as a symbol of her personal growth and self-awareness, particularly in seasons two and three. In 2.21, she earns a mirror-shaped pendant for being vulnerable and sharing her feelings of loneliness. In 3.04, she breaks her curse by realizing her beauty isn't skin deep. Every time she reflects on her life and grows as a person, there is a reflective item (the lake, the pendant) present. If we consider that the moon reflects the sun and acts like a mirror, we can interpret her mirror-based spells to have an indirect relation to her lunar abilities.

To be fair, her mirror spells could easily have a category of their own as the moon is not exactly like a mirror in its reflectivity power; the moon only reflects about 3–12% of the sunlight, while a mirror typically reflects anything between 70%–99.9%. However, based on the fact that the sun produces its light, whereas the moon and mirror do not, we can conclude that her mirror spells are more likely to fall under the moon category than the sun category.

From a narrative standpoint, it seems the writers had no idea what to do with her lunar side. It's likely why they changed her title and erased almost every trace of her lunar side, including the blue accents in her transformation outfits. It's a shame because there are so many ways they could have explored her moon powers in the later seasons, but no; instead, we get the displeasure of witnessing her turning into a toddler, putting fairy animals in silly costumes, and wearing an atrocious salad dress to the stage for everyone in the audience to mock. Which, for the record, she would absolutely never wear.

#winx club #winx #winx stella #winx headcanons #winx meta #winxmeta #metas

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