Disney Publishing Worldwide IG uploaded new drawings of "The Owl House: The Long Lived King".🦉✨
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Disney Publishing Worldwide IG uploaded new drawings of "The Owl House: The Long Lived King".🦉✨
Guests attending the Disney Books booth at San Diego Comic-Con will get a FREE giveaway inspired by the book. 📚

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Wouldn’t it be funny if in ch. 6, Noelle or Pizzapants or whoever mentions that Dess had a really bad habit of being late to everything. Like she’d always show up at the last second and she would get things done. But it was really annoying how much people would have to stall or delay for her arrival.
I’ve had to think about how Deltarune will handle a final confrontation with the Roaring Knight. Namely the fact that defeating them in Chapter 3 is a secret boss of its own.
But that raises the question, if RK’s encounter in chapter 3 is an optional fight, surely at some point we’ll get a required fight with RK that we have to win, right? And won’t that fight be easier than their Ch. 3 encounter to play into how the secret bosses are the hardest fights?
So is our final confrontation with the knight gonna be easier? That seems anti-climatic. Maybe the idea is that our heroes will be empowered (being given shadow mantle protection will help), thus evening the odds. But will the knight’s attack patterns still remain the same? Or will Toby change them to avoid redundancy? Will the knight get a powered up form as well to create some sort of change?
I think of how chapter 4 brought in the climbing mechanic, and then kept it even for chapter 5. 5 gave us the 2D platforming mechanic, complete with actual boss fights and enemies. It even incorporates this into the segments where you run forward endlessly, a fun way of foreshadowing the orange soul mechanic against Flowery at the end.
Maybe this is how we’ll do our second, required boss fight with the knight near the end? We switch to 2D platforming, and the knight winds up easier because they’re not used to fighting in 2D (There’s a foreshadowing bit about Dess being really bad at platformers or Smashing Fighters). Or they just are easier idk. It could be a way to avoid repeating the fight that players already succeeded in while still being a required and thus viable win. And it’d be a fun twist on a fight some players have already won, where we see the knight’s attack patterns translated to a platforming format.
And when you think of Susie chasing the knight up those stairs in ch. 4, maybe we’ll get a callback with those Torii gates where we have a whole chase segment in which we can use Susie’s Rude Buster against the knight as they hurl attacks at us.
If chapter 3 gave us the “video game” mechanic and made a secret boss out of it with ERAM, chapter 6 or 7 could take it further by doing an elaborate boss fight with the Roaring Knight this way.
more woof psycho 100
"have you tried going to bed earlier and without electronics and light and taking melatonin and sleeping pills also have you tried torturing yourself in ways the geneva convention mentions and living like an ascetic monk without the pleasures of the 21st century you clearly dont deserve for being eepy sleepy. have you tried never going anywhere ever just so you can be awake at 6 am for no reason other than we hate you" yes and its like this pic for 6 hours until i can finally sleep at 3 am. i will start strangling people. im so serious
Me when I’m in a being unhelpful competition and my opponent is a morning person

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Despite being our main character Jax doesn’t really have any goals. She’s just doing the exact same routine of being an asshole for fun while avoiding emotional sincerity. And then at the halfway point entertains accepting Pomni’s application to be a sidekick before deciding to set a boundary that Pomni is upset about it. And then decides to abstract by herself about it but gets distracted being dragged in with everyone into Caine’s two-episode side quest and then once that’s done goes right back to abstracting by herself.
She didn’t even meaningfully participate in the story until the halfway point and didn’t have any real agency nor initiative, compared to Pomni at least exploring the cast members or Ragatha vying for her affection; She just reacts to what happens. Jax is the only stagnant character yet gets all this focus and runtime a developing character would actually need, which leaves arcs feeling underdeveloped. If the show revolves around Jax and we had to sacrifice other storylines to suddenly focus on Jax then her story needs to be really good to make up for it but alas.
Honestly I have to consider that maybe episode 7 should’ve been about Jax abstracting, go through with that whole tease. The others feel sad about it and then after making their peace are galvanized to confront Caine over his neglect claiming another victim. Caine is in denial that he’s the problem here (tbf it really was Jax’s fault) and snaps, leading to his breakdown that ends with his deletion.
Then the finale’s first half is about exploring the emotional ramifications of everyone being clones as well as Kinger causing this BS. And then the second half is Caine’s return.
…Of course, Gooseworx wanted to give her self-insert more screentime so that’s not what happened. At least with Caine taking up the finale he was always set apart as a main antagonist on the thumbnail of the pilot with Pomni, as the face of the titular circus. Jax wants to be Bojack Horseman so bad but Bojack was actually established unambiguously as our main protagonist from the start (hence his show’s name) and actually had to deal with messy consequences to his behavior and portrayals that weren’t always a flattering sympathy.
So the other sad thing about Ragatha is that she is kind of the only character who’s actually responding to Pomni’s arrival. I think there’s some narrative potential in everyone else being so cyclical and spiritually dead that they just go back to the status quo and don’t care about interrogating this new arrival.
But that makes Ragatha stand out more as does the way this actual goal of hers (something most other characters lack) is tied to this new arrival. She’s the only character who’s adjusting to Pomni being here.
Gangle, Zooble, and Kinger briefly check it out and then just go back to what their lives have always been. Both in the pilot and afterwards.
Caine takes a bit more interest in introducing Pomni but then does the same. It’s kind of a plot point in the pilot even that he’s not paying attention.
Jax takes an initial interest in the pilot but then goes back to her routine for a solid third of the show where she doesn’t meaningfully acknowledge Pomni’s existence or even meaningfully participate in the story tbh.
Ragatha wants Pomni to be her friend, that’s her goal; In fact she wants everyone to be her friend but Pomni is interesting because she’s new and so she’s a fresh start. There’s tension there with Ragatha being clingy and Pomni finding her off-putting. She’s the only person who’s been affected by the inciting incident outside of our main protagonist!
And then… the show, after building up this climax regarding this emotional conflict between Pomni and Ragatha, just. Resolves it offscreen and then has Ragatha do fuck all for two whole episodes without any lingering awkwardness. And then Pomni comforts her because she’s sad about Jax’s backstory that Pomni had no part in and there’s this grandiose hug that is unearned because we never see them actually hang out as friends together.
And it sucks that the button press went nowhere. It didn’t really accomplish anything that wasn’t already done or wouldn’t already be done anyway.
You’re showing that Jax is mentally unwell? She was about to abstract earlier in the episode.
Jax is gonna push everyone away? They just don’t care about it.
The others care for Jax despite everything? When episode 6 has Zooble understand how much Jax hurts Gangle as Pomni is hurt by Jax, we already see how they get over this just to be there for Jax throughout episode 7 anyway.
Jax is an asshole? See above.
Jax prefers the circus over real life? Episode 6 already had her go on a spiel about how circus is great because nothing matters, and then shortly before the button press Zooble’s question alludes to Jax having nobody to go back to.
Not to mention we have the finale backstory to clarify why Jax doesn’t want to go back, and further clarify how much Jax sucks.
You’d think that Caine would obsess over this, over the confirmation that someone does prefer what he has to provide over real life but then the rest of the show just drops that idea. This validation is meant to be Caine’s entire motivation and he just ignores it. Sure Jax was mad right after, but she still chose to press that button.
But of course if Gooseworx clumsily insists that the button press doesn’t matter because it was a scam (that’s not really how this works but okay) then sure she can ignore this angle. But if the button press truly doesn’t matter then why include it???
It reminds me of this review I watched of TADC where they surmised that she’s good at making individual emotional moments in isolation but struggles to make a connecting narrative out of them that naturally leads up to and follows off of these things, some of it can be unearned sometimes. Jax pressing the button feels like that where it was meant to be shocking but Gooseworx didn’t think about it any further than that.
It’s like how a good chunk of Jax’s mindscape sequence is kinda filler; Like it’s neat on paper to explore how Jax would feel about a certain cast member dying but realistically it doesn’t actually add anything to the main narrative about Jax’s backstory and Pomni losing someone she tried really hard to save.
If anything it takes up way too much time that could’ve been given to Pomni and/or Ragatha, esp Pomni because what do you mean the main character gets sidelined in her own show. It feels like Gooseworx forgot TADC was supposed to be a story and turned it into more of a self-insert showcase without asking what any of this accomplishes. She doesn’t know how to “kill her darlings” in that sense and like fine. But you’re not gonna convince people that we just Don’t Get It.
Yet another issue with TADC’s writing is that it removes much of the stakes to Jax’s behavior. The only stakes left are how Jax’s shitty behavior makes her feel and how it might make her abstract.
But there’s no stakes in regard to losing the others’ companionship, in burning bridges with people who aren’t gonna keep waiting around for some turnaround. The audience never has to worry about Jax losing these people, because any time someone does begin to reject Jax, the show immediately course-corrects and has them forgive Jax anyway, even though the reconciliation is completely unearned. Pomni is the one character allowed to be angry but only because she’s doubling down on caring about Jax which is why in the next episode she goes back to being supportive of Jax.
It’s all of the emotional convenience of a children’s show essentially, there’s no messy backlash or consequences or stakes. Both fans and creator sell this as a character-driven existential horror aimed for older audiences yet it’s written with the maturity and nuance of a kids cartoon, which is funny because I’ve somehow seen kids shows that are more nuanced.
It’s all dissatisfying much in the same way that Kinger helping create the circus and mismanage Caine is dissatisfying because there’s no emotional exploration nor complexity about the subject, the show just doesn’t touch it at all. People don’t want Kinger to be punished for this but they do want the show to have some sort of payoff to this interesting setup it does nothing with. Same with the cast finding out their memories are fake; After the emotional setup of Gunmigoo’s entire episode, the lack of meaningful payoff is even more jarring in how the cast just briefly feels sad before moving on and then they get a convenient resolution at the end that is also, you guessed it, unearned.
That’s the issue, it’s unearned. Everyone still loving and being there for Jax is unearned, it could still happen but the show needs to make these moments feel like they were worked towards but it doesn’t. There’s never any stakes nor consequences to Jax’s behavior besides her own self-inflicted harm that is done for her own catharsis anyway. It just hearkens back to what Jax said in episode 6 about how nothing matters because they all return to the status quo anyway.
Wasn’t that the point of Zooble insisting to Gangle then that Jax’s harm does matter? Just for it… not to, as Jax herself said. After this episode the frustration towards Jax’s harm no longer matters because the characters just continue to get over it without Jax doing anything to earn that behavior in their eyes. The show unironically asserts that yes, Jax is right; She CAN do whatever she wants and it doesn’t matter because everyone will just go back to tolerating and forgiving her anyway.
We have this really interesting setup regarding consequences and what makes things real or matter or meaningful and if there are actual stakes to things, with an exploration of nihilism about it. And then the show just utterly shits the bed because the creator was so obsessed with making Jax her self-insert she forgot that Jax isn’t literally her and that there are some very key distinctions she’s emphasized several times even in tweets that she needs to write around.
I don't think I agree but this kind of analysis is interesting to me because it is foreign to how I conceptualise / interact with both fictional and real people. I don't really have an opinion about what's earned vs. unearned. That's not something I'm evaluating or... know how to evaluate, I guess.
Like, in real life there are people who like me, and I don't understand why, and there are people who dislike me, and I don't understand why. And I don't understand why I like the people I like, dislike the people I dislike. I mean, I make up stories about it sometimes, but I don't really believe those stories. I think "I don't like so-and-so so I tell myself stories about why I'm right to dislike them" is how it works for me, not the other way around. I fit the stories to the unexplained facts because that's a thing minds like doing.
So to me Pomni's consistent attempts to reach out to Jax even though Jax is an asshole... I'm willing to accept that as a simple fact that doesn't need to be justified and is consistent with my understanding of actual people. I'm not expecting Jax to earn it because I don't think that's how people and social interactions work. The Amazing Digital Circus feels psychologically realistic to me but I don't think I can defend that. It's recognition—I see the characters doing things that I would do or people I know would do—rather than analysis.
TBH I think you’re confusing real life’s chaotic illogic with the requirements for a narrative to have an actual consistent internal logic. Just because you don’t understand what occurs in real life doesn’t mean there’s no explanation. But if the narrative itself cannot provide its own explanations then that’s not real life, that’s just bad writing.
I think I have a general mistrust of explanations and of verbal analysis as a tool for creating understanding.
You have a general mistrust of explanations and analysis??? This is more than “Why do they care about Jax in any capacity” it’s “Why do they not care at all about incredibly huge things that should be a big deal.” This is about basic narrative legwork and motivations.
If you'll forgive me repeating myself: 'I think "I don't like so-and-so so I tell myself stories about why I'm right to dislike them" is how it works for me, not the other way around.'
If I'm expecting a character to have verisimilitude, I guess I use the same mental machinery to understand the character that I would use to understand myself. If the character feels a certain way and I want a verbal explanation of why that is, there's a part of my mind that specialises in 'oh look i just saw someone do a thing now let me make up a story about why that is'. That's a little mental game I can play if I feel like it.
It's going the other direction that I don't trust, going from "I made up a story about what the characters should feel" to then asking why the characters aren't feeling the way they should. Like, I know this is a normal and natural way for lots of people to interact with stories, but to me it feels wrong, like the mental equivalent of running my fingers the wrong way on splintery wood. Anyway I think it's interesting watching other people do it without pulling their mental hands back in pain.
I’m not telling myself stories about why I should dislike Jax. The story itself provided these reasons but then doesn’t follow through on its setup.
And this is all a very fanciful way of saying “The story doesn’t make sense and I had to make up explanations for the behavior that the story never actually gets nor alludes to” like you’re just doing legwork for the story that it should’ve done itself. That can be fun but that hardly means the story is actually logical nor sensible.
And while we can look at character actions from a Watsonian perspective, literary analysis is Doylist: The writer didn’t include these necessary pieces because she just didn’t think hard enough about it. She wanted people to forgive Jax but didn’t include the necessary Watsonian pieces. You’re acting as if a writer can’t ever make mistakes. TADC is not an ambiguous story, it tells you exactly how to feel and has characters narrate exactly how they’re feeling, which makes it clear that these motivations aren’t some mystery to be solved but a writer oversight.

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I remember initially avoiding TADC’s pilot because of a meme about how it’s “Hazbin-level writing” and then I eventually watched the first few episodes and wondered to myself how anyone could say anything like that???
And then the rest of the show came out and uh huh. I see it now.
Like. This show is so amateurly-written with a teenager’s nuance which wouldn’t be as frustrating if both the fans and even the creator herself didn’t get mad at you for pointing out flaws in the writing and insisting TADC is avant-garde art for “intellectual queers” and that there’s something brilliant and clever about. The animation improving over time.
Lbr the show actively falls apart if you try to examine it any further but then fans accuse you of engaging in kiddie show discourse for kidz despite earlier claiming it’s for adults or whatever. Or defend it as just an amateur indie project but like okay which is it, you gotta pick one? There is such a “lady doth protests too much” vibe to the fandom throwing around how you don’t have Media Literacy.
In the end it feels as if TADC mostly carries itself with big emotional scenes and toyetic aesthetics and of course the Potential. It’s basically just a lot of flash with not much substance.
I saw a review for TADC that said one of its issues was a lack of actual goals to work towards. I somewhat disagree, I think a story about the characters just trying to get through to the next day because they gave up on goals and are now rediscovering them can be meaningful in concept.
But it does make me think of how only three cast members, arguably two, have goals throughout the show. Jax, Gangle, Zooble, and Kinger don’t really have goals beyond existing and hoping their problems don’t make them anymore miserable. They’re just kinda repeating the same things.
Pomni sorta had goals at one point, she started off with escaping the circus but this was immediately lost after the pilot. And then it was just a general sense of adjusting to the circus and then being whatever people needed her to be, but it wasn’t really an active goal it was just something she sorta did. Same with being Jax’s stooge.
Caine and Ragatha actually had goals, Caine was trying to earn everyone’s approval and the way he unravels over not achieving this is interesting to watch. Ragatha was also interesting for a similar reason; She wanted Pomni’s approval and she wanted to get everyone else to also like her by being as good as possible. She’s the only character who’s actively responding to Pomni’s introduction to the narrative, who engages with this being a new arrival instead of going back to business.
But that’s another reason why her resolution isn’t satisfying. There isn’t a big emotional messy climax like other characters like Caine or Jax get. Ragatha just gets bummed about it and gives up and then Kinger neatly conveniently resolves her problems with some advice. And then Ragatha’s baggage with Pomni is resolved off-screen and then the show stops talking about it for two whole episodes and then hastily slaps on an unearned hug between the two when Pomni is never actually seen being a friend to Ragatha specifically nor apologizing for that.
One of the few characters with an actual goal who suffers struggle and conflict from people getting between them and that and the show just. Doesn’t care to resolve it properly.
Yet another issue with TADC’s writing is that it removes much of the stakes to Jax’s behavior. The only stakes left are how Jax’s shitty behavior makes her feel and how it might make her abstract.
But there’s no stakes in regard to losing the others’ companionship, in burning bridges with people who aren’t gonna keep waiting around for some turnaround. The audience never has to worry about Jax losing these people, because any time someone does begin to reject Jax, the show immediately course-corrects and has them forgive Jax anyway, even though the reconciliation is completely unearned. Pomni is the one character allowed to be angry but only because she’s doubling down on caring about Jax which is why in the next episode she goes back to being supportive of Jax.
It’s all of the emotional convenience of a children’s show essentially, there’s no messy backlash or consequences or stakes. Both fans and creator sell this as a character-driven existential horror aimed for older audiences yet it’s written with the maturity and nuance of a kids cartoon, which is funny because I’ve somehow seen kids shows that are more nuanced.
It’s all dissatisfying much in the same way that Kinger helping create the circus and mismanage Caine is dissatisfying because there’s no emotional exploration nor complexity about the subject, the show just doesn’t touch it at all. People don’t want Kinger to be punished for this but they do want the show to have some sort of payoff to this interesting setup it does nothing with. Same with the cast finding out their memories are fake; After the emotional setup of Gunmigoo’s entire episode, the lack of meaningful payoff is even more jarring in how the cast just briefly feels sad before moving on and then they get a convenient resolution at the end that is also, you guessed it, unearned.
That’s the issue, it’s unearned. Everyone still loving and being there for Jax is unearned, it could still happen but the show needs to make these moments feel like they were worked towards but it doesn’t. There’s never any stakes nor consequences to Jax’s behavior besides her own self-inflicted harm that is done for her own catharsis anyway. It just hearkens back to what Jax said in episode 6 about how nothing matters because they all return to the status quo anyway.
Wasn’t that the point of Zooble insisting to Gangle then that Jax’s harm does matter? Just for it… not to, as Jax herself said. After this episode the frustration towards Jax’s harm no longer matters because the characters just continue to get over it without Jax doing anything to earn that behavior in their eyes. The show unironically asserts that yes, Jax is right; She CAN do whatever she wants and it doesn’t matter because everyone will just go back to tolerating and forgiving her anyway.
We have this really interesting setup regarding consequences and what makes things real or matter or meaningful and if there are actual stakes to things, with an exploration of nihilism about it. And then the show just utterly shits the bed because the creator was so obsessed with making Jax her self-insert she forgot that Jax isn’t literally her and that there are some very key distinctions she’s emphasized several times even in tweets that she needs to write around.
I don't think I agree but this kind of analysis is interesting to me because it is foreign to how I conceptualise / interact with both fictional and real people. I don't really have an opinion about what's earned vs. unearned. That's not something I'm evaluating or... know how to evaluate, I guess.
Like, in real life there are people who like me, and I don't understand why, and there are people who dislike me, and I don't understand why. And I don't understand why I like the people I like, dislike the people I dislike. I mean, I make up stories about it sometimes, but I don't really believe those stories. I think "I don't like so-and-so so I tell myself stories about why I'm right to dislike them" is how it works for me, not the other way around. I fit the stories to the unexplained facts because that's a thing minds like doing.
So to me Pomni's consistent attempts to reach out to Jax even though Jax is an asshole... I'm willing to accept that as a simple fact that doesn't need to be justified and is consistent with my understanding of actual people. I'm not expecting Jax to earn it because I don't think that's how people and social interactions work. The Amazing Digital Circus feels psychologically realistic to me but I don't think I can defend that. It's recognition—I see the characters doing things that I would do or people I know would do—rather than analysis.
TBH I think you’re confusing real life’s chaotic illogic with the requirements for a narrative to have an actual consistent internal logic. Just because you don’t understand what occurs in real life doesn’t mean there’s no explanation. But if the narrative itself cannot provide its own explanations then that’s not real life, that’s just bad writing.
I think I have a general mistrust of explanations and of verbal analysis as a tool for creating understanding.
You have a general mistrust of explanations and analysis??? This is more than “Why do they care about Jax in any capacity” it’s “Why do they not care at all about incredibly huge things that should be a big deal.” This is about basic narrative legwork and motivations.
when does anyone forgive jax?? the cast not wanting her to abstract is not forgiveness it's "i don't like you but don't kill yourself"
Ragatha apologizing to Jax despite Jax being the one who’s been making her miserable and been doing consistently shitty things to her, even being the one to ruin that original group dynamic and drive Ribbit to suicide while kickstarting Kaufmo’s?
Zooble being upset over Jax’s betrayal and the characters immediately disputing this because Jax’s feelings are more important despite the fact that Jax is the one jeopardizing other people’s health, and as it turns out has actually driven people to abstraction before?
Gangle has a brief bit where she’s struggling to cry over Jax’s death but then gets over it and cries anyway.
Just. The general attitude of everyone overlooking everything because Jax is Sad like it isn’t always her own fault??? Pomni feeling the need to be friendly to Jax in episode 7 even though she already confirmed that Zooble is there for her and that Jax is partaking in the alleged exit? The fact that she never has a moment where she can be real with Jax in the finale about how Jax caused all of that, it’s nothing but pure saccharine sympathy?
The show actively discourages anyone from getting upset at Jax because Jax might abstract for it, as if it isn’t proven that Jax’s behavior can also make people abstract and literally has.
Keep in mind that Caine’s story is right there. He’s an actual example of nuance where the show weighs the conflicting obligations of wanting compassion for Caine, while recognizing that he is jeopardizing other people’s wellbeing and that this is the greater priority.
The show doesn’t simply humanize Jax, it takes this bafflingly permissive tone where Jax can never face consequences from others, just her own self-inflicted self-flagellation done for her own catharsis. It explicitly forbids these things rather than just not having them happen.
Yet another issue with TADC’s writing is that it removes much of the stakes to Jax’s behavior. The only stakes left are how Jax’s shitty behavior makes her feel and how it might make her abstract.
But there’s no stakes in regard to losing the others’ companionship, in burning bridges with people who aren’t gonna keep waiting around for some turnaround. The audience never has to worry about Jax losing these people, because any time someone does begin to reject Jax, the show immediately course-corrects and has them forgive Jax anyway, even though the reconciliation is completely unearned. Pomni is the one character allowed to be angry but only because she’s doubling down on caring about Jax which is why in the next episode she goes back to being supportive of Jax.
It’s all of the emotional convenience of a children’s show essentially, there’s no messy backlash or consequences or stakes. Both fans and creator sell this as a character-driven existential horror aimed for older audiences yet it’s written with the maturity and nuance of a kids cartoon, which is funny because I’ve somehow seen kids shows that are more nuanced.
It’s all dissatisfying much in the same way that Kinger helping create the circus and mismanage Caine is dissatisfying because there’s no emotional exploration nor complexity about the subject, the show just doesn’t touch it at all. People don’t want Kinger to be punished for this but they do want the show to have some sort of payoff to this interesting setup it does nothing with. Same with the cast finding out their memories are fake; After the emotional setup of Gunmigoo’s entire episode, the lack of meaningful payoff is even more jarring in how the cast just briefly feels sad before moving on and then they get a convenient resolution at the end that is also, you guessed it, unearned.
That’s the issue, it’s unearned. Everyone still loving and being there for Jax is unearned, it could still happen but the show needs to make these moments feel like they were worked towards but it doesn’t. There’s never any stakes nor consequences to Jax’s behavior besides her own self-inflicted harm that is done for her own catharsis anyway. It just hearkens back to what Jax said in episode 6 about how nothing matters because they all return to the status quo anyway.
Wasn’t that the point of Zooble insisting to Gangle then that Jax’s harm does matter? Just for it… not to, as Jax herself said. After this episode the frustration towards Jax’s harm no longer matters because the characters just continue to get over it without Jax doing anything to earn that behavior in their eyes. The show unironically asserts that yes, Jax is right; She CAN do whatever she wants and it doesn’t matter because everyone will just go back to tolerating and forgiving her anyway.
We have this really interesting setup regarding consequences and what makes things real or matter or meaningful and if there are actual stakes to things, with an exploration of nihilism about it. And then the show just utterly shits the bed because the creator was so obsessed with making Jax her self-insert she forgot that Jax isn’t literally her and that there are some very key distinctions she’s emphasized several times even in tweets that she needs to write around.
I don't think I agree but this kind of analysis is interesting to me because it is foreign to how I conceptualise / interact with both fictional and real people. I don't really have an opinion about what's earned vs. unearned. That's not something I'm evaluating or... know how to evaluate, I guess.
Like, in real life there are people who like me, and I don't understand why, and there are people who dislike me, and I don't understand why. And I don't understand why I like the people I like, dislike the people I dislike. I mean, I make up stories about it sometimes, but I don't really believe those stories. I think "I don't like so-and-so so I tell myself stories about why I'm right to dislike them" is how it works for me, not the other way around. I fit the stories to the unexplained facts because that's a thing minds like doing.
So to me Pomni's consistent attempts to reach out to Jax even though Jax is an asshole... I'm willing to accept that as a simple fact that doesn't need to be justified and is consistent with my understanding of actual people. I'm not expecting Jax to earn it because I don't think that's how people and social interactions work. The Amazing Digital Circus feels psychologically realistic to me but I don't think I can defend that. It's recognition—I see the characters doing things that I would do or people I know would do—rather than analysis.
TBH I think you’re confusing real life’s chaotic illogic with the requirements for a narrative to have an actual consistent internal logic. Just because you don’t understand what occurs in real life doesn’t mean there’s no explanation. But if the narrative itself cannot provide its own explanations then that’s not real life, that’s just bad writing.

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Zooble and Kinger honestly could’ve been the same character. Like 90% of their screentime is just providing helpful advice to another character that often just resolves whatever issue they’re going through at the moment. They’re such plot device characters with good potential that the show never touches on, and I suspect it’s because A) Gooseworx wanted to make the cast feel less claustrophobic but mostly B) She had OC concepts and never bothered to think too hard about making them work in their own stories.
If you look at Zooble it’s like. Aside from minor bits or gags all of their arc is just a B-plot in which they lazily exposition dump their baggage without really showing us or causing a conflict from it. And then they pivot to trying to be Caine’s therapist. And then they give Gangle the perfect advice she needs to hear. And then try to be supportive of Gangle as her partner and push her to stand up to Jax. And then tell Gangle what she needs to hear in the next episode. And then is supportive to Jax. And then we have one scene showing actual emotional intrigue that is immediately nipped in the bud. And then the finale is just Zooble repeating the exact same “We’re human” spiel to Gangle like twice and it’s supposed to be a nice callback but it just feels like the show couldn’t think of anything new to say.
Kinger is okay-ish comedic relief and then his focus episode is just him giving Pomni perfect advice. And then he gives Ragatha perfect advice. He briefly seems a bit concerned in 7 about Abel and then goes back to telling everyone the lore they need to hear and how to defeat Caine. And outside from a brief bit of tension at the start of the finale goes back to being the perfect mentor and that’s it.
Like. I guessed after episode 3 that Kinger might have a problem with being too perfect of a character without any conflict whatsoever and what’s crazy is not only am I right but the show foregoes a really interesting potential for conflict by having nobody care about Kinger helping create this entire mess to begin with.
If Zooble and Kinger were the same character then maybe them being with Gangle is them moving on from a lost love. Or you could cut out the Dead Wife bit just as you’d have to cut out the connection to C&A because if you’re not gonna have anyone feel anything then just don’t include it. Let this character be a generic unrelated developer who figures out the lore because they’re a developer and not because they were actually a part of it.
And like by the end of it TADC is very much trying to push itself as a Wholesome Message type of show with how characters frequently monologue Healthy Life Advice so like. Of course people are gonna evaluate if the advice actually makes sense or not. When so many scenes are characters playing therapy to one another and the show being unironic about their advice, of course people are gonna evaluate the advice.