History YMMV / GravityFallsLostLegends

** Similar but slightly different group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when written well, the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. This group is something of a foil of the previous, sharing many ideas but disagreeing on what should be done: rather than thinking that repeating the lesson damaged Mabel's character and the writers should have just continued acting as if she did learn from Weirdmaggedon, this group thinks the repeat lesson was ''very'' necessary but wasn't handled well enough and didn't address enough of the series' writing issues.

** Similar but slightly different group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. This group is something of a foil of the previous, sharing many ideas but disagreeing on what should be done: rather than thinking that repeating the lesson damaged Mabel's character and the writers should have just continued acting s if she did learn from Weirdmaggedon, this group thinks the repeat lesson was necessary but wasn't handled well enough and didn't address enough of the series' writing issues.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. To this group, the comic didn't address nearly enough of the problems they had with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. To this group, the comic reads as if the writers didn't fully understand the issues some fans had with the character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. The comic doesn't address this and reads as if Mabel's selfishness and the others not knowing about the deal with Blendin were the sole outstanding issues with her character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this has made her scenes frustrating for them to watch. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world of the show in general accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually be better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. The comic doesn't address this and reads as if Mabel's selfishness and the others not knowing about the deal with Blendin were the sole outstanding issues with her character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to continue being selfish and emotionally manipulative since it got her what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to use similarly selfish tactics when desperate in the future since it got her what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since it got her what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. While many characters express disappointment with Dipper's flaws over the series, the only person who ever does this to Mabel is Dipper in ''DD&MD,'' and "The Last Mabelcorn" and "Weirdmaggedon Part 2" show, to these critics, how much effect that had (none). Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and little to no consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. While many characters express disappointment with Dipper's flaws over the series, the only person who ever does this to Mabel is Dipper in ''DD&MD,'' and "The Last Mabelcorn" and "Weirdmaggedon Part 2" show, to these critics, how much effect that had (none). Weirdmageddon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release, far from being convinced Mabel had grown as a person, expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems many had with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and few consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems many had with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia can be compelling character flaws when written well, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better and zero consequences when she didn't, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems many had with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems many had with Mabel's character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both [[AllTakeAndNoGive made Dipper do all the work for her own character resolution]] and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both made Dipper do all the work for her own character resolution and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since she got what she wanted with no negative consequences for herself. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws, with Mabel ignoring all previous lessons and walking out of it having both made Dipper do all the work for her own character resolution and objectively benefitted from the suffering she put him through, with the "Mabel's Fault" joke as her only consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior when desperate since Weirdmageddon is proof that Dipper will give in when pressured. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws; despite Mabel allegedly having long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having relied entirely on Dipper to do the work in resolving her own character conflict and having benefitted from the suffering she put her brother through, only receiving the "Mabel's Fault" joke as consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish behavior since she got what she wanted out of this one with few negative consequences. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character.

*** A subsection of the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness and AesopAmnesia are flaws that can be written well as compelling character flaws, but the writers continuously had the other characters and the world accept Mabel's behavior completely with no expectations for her to try and behave better from then on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws; despite Mabel allegedly having long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having relied entirely on Dipper to do the work in resolving her own character conflict and having benefitted from the suffering she put her brother through, only receiving the "Mabel's Fault" joke as consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish stunts since she got what she wanted out of this one with few negative consequences. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** A subsection of the above feel the comic didn't even address the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness, and even AesopAmnesia, largely weren't the actual problems for these critics--It was the fact that these issues [[FatalFlaw had been addressed before]], allegedly learned from, [[AesopAmnesia and repeated]], and the writers had the other characters and the world accept her behavior completely with no expectations for her to try and behave better from now on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't, both by the rest of the cast and by the writers. Weirdmaggedon, for these critics, is the apotheosis of these flaws; despite Mabel allegedly having long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having relied on Dipper to resolve her own character conflict and having benefitted from the suffering she put her brother through, only receiving the "Mabel's Fault" joke as consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish stunts since she got what she wanted out of this one with few negative consequences. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** A subsection of the above feel the comic didn't even address the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness, and even AesopAmnesia, largely weren't the actual problems for these critics--It was the fact that these issues [[FatalFlaw had been addressed before]], allegedly learned from, [[AesopAmnesia and repeated]], and the writers had the other characters and the world accept her behavior completely with no expectations for her to try and behave better from now on and zero consequences, thus giving Mabel seemingly no reason to actually do better. Dipper was constantly held to behavioral standards that Mabel wasn't. Weirdmaggedon, for these critics, is the apotheosis of these flaws; despite Mabel allegedly having long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having relied on Dipper to resolve her own character conflict and having benefitted from the suffering she put her brother through, only receiving the "Mabel's Fault" joke as consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish stunts since she got what she wanted out of this one with few negative consequences. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** A subsection of the above feel the comic didn't even address the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics--heck, for some it wasn't even the AesopAmnesia; it was simply the lack of consequences in a show that otherwise relies on characters facing such consequences. It was the fact that these issues had been addressed before, allegedly learned from, and repeated, and the writers had the other characters and the world accept her behavior completely with no expectations for her to try and behave better and zero consequences, thus giving Mabel seemingly no reason to actually do better. Weirdmaggedon, for these critics, is the apotheosis of these flaws; despite Mabel allegedly having long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having relied on Dipper to resolve her own character conflict and having benefitted from the suffering she put her brother through, only receiving the "Mabel's Fault" joke as consequence. Many after the finale's release expressed concern that the outcome actually ''incentivized'' Mabel to repeat the same kinds of selfish stunts since she got what she wanted out of this one with few negative consequences. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** A subsection of the above feel the comic didn't even address the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics--heck, for some it wasn't even the AesopAmnesia; it was simply the lack of consequences in a show that otherwise relies on characters facing such consequences. It was the fact that these issues had been addressed before, allegedly learned from, and repeated, and the writers had the other characters and the world tolerate this behavior with zero expectations for her to behave better and zero consequences, thus giving Mabel seemingly no reason to actually do better. Even though she should have long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having benefitted from the suffering she put her brother through and only receives the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her; heck, it practically incentivizes Mabel to continue similar behavior when desperate, as she got what she wanted out of doing so. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** A subsection of the above feel the comic didn't even address the biggest issue with Mabel and Weirdmageddon: many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics--heck, for some it wasn't even the AesopAmnesia; it was the fact that these issues had been addressed before, allegedly learned from, and repeated, and the writers had the other characters and the world tolerate this behavior with zero expectations for her to behave better and zero consequences, thus giving Mabel seemingly no reason to actually do better. Even though she should have long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having benefitted from the suffering she put her brother through and only receives the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her; heck, it practically incentivizes Mabel to continue similar behavior when desperate, as she got what she wanted out of doing so. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** Many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics; it was the fact that her selfishness had been addressed before and the writers had always walked back her development later when they needed another conflict, all while giving her no consequences for her repeated mistakes and thus seemingly no reason to actually do better next time. Even though she should have long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having benefitted from the suffering she put her brother through and only receives the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.

*** Many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics; it was the fact that her selfishness had been addressed before and the writers had always walked back her development later when they needed another conflict, all while giving her no consequences for her repeated mistakes and thus seemingly no reason to actually do better next time. Even though she should have long learned that the kind of deal she made with "Blendin" was wrong, she still walks away from it having benefitted from the suffering she put her brother through and only receives the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise despite her promises.

*** Many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes frustrating to watch for these viewers. Selfishness largely wasn't the actual problem for these critics; it was the fact that her selfishness had been addressed before and the writers had always walked back her development later when they needed another conflict, all while giving her no consequences for her repeated mistakes and thus seemingly no reason to actually do better next time. Even though she had long learned that what she did was wrong, she still walks away from Weirdmageddon having benefitted from the suffering she put her brother through and only receiving the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise despite her promises.

*** Many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes unpleasant to watch for these viewers. Selfishness largely wasn't the actual problem for these critics; it was the fact that her selfishness had been addressed before and the writers had always walked back her development later when they needed another conflict, all while giving her no consequences for her repeated mistakes and thus seemingly no reason to actually do better next time. Even though she had long learned that what she did was wrong, she still walks away from Weirdmageddon having benefitted from the suffering she put her brother through and only receiving the "Mabel's Fault" joke as consequence--something that follows an unaddressed pattern in the show, as the mistakes Mabel doesn't learn from repeatedly cause more trouble for Dipper than her. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise despite her promises.

*** Many of the criticism against Mabel ''weren't about'' her liking the spot light--some notably even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they necessarily really about the fact that no one in the show found out about Mabel's selfish deal with "Blendin Blandin." The criticisms of Mabel's character are more often about how the writing of the show bends over backwards to avoid giving Mabel the same kinds of serious consequences it gives Dipper for similar mistakes and how, when paired with Mabel often being used to instigate others' conflicts and [[AesopAmnesia refusing to learn from her own]], this can make her scenes unpleasant to watch for these viewers. Selfishness largely wasn't the actual problem for these critics; it was the fact that her selfishness had been addressed before and the writers had always walked back her development later when they needed another conflict, all while giving her no consequences for her repeated mistakes. She still walks away from Weirdmageddon having benefitted from the suffering she put the town through and only suffering the "Mabel's Fault" joke as consequence. The comic doesn't address this and acts as if Mabel's selfishness and the characters not knowing about the deal with Blendin were the sole outstanding issues with her character, which, to those who posed these criticisms, makes it look like Hirsch doesn't understand the problems with the character and bestows very little faith that Mabel's writing problems won't repeat in any later additions to the franchise.