History YMMV / GravityFallsLostLegends

* SomeAnvilsNeedToBeDropped:
** When Stan admits that he hates comics because he wants to draw them but his dad and the comic book publishers killed his creativity, Soos reassures him it's not too late to get started and he should do what he loves. After all, it's never too late to pursue your passions and find someone who ''will'' appreciate your work. Sure enough, one kid buys Stan's Xeroxed comics because he loves the swear words in it.
** In "Don't Dimension It," Mabel gets a hard lesson that if she keeps denying her faults cause problems, then she's going to never grow up or change. There will always be a part of her that wants to be selfish and she has to defeat it by confronting it first hand rather than finding excuses for her behavior.

** Another cryptogram reveals the implication that Wendy’s MissingMom might be [[spoiler: trapped in another dimension, like what happened to Ford. But ''how?'' and why?]]

** [[TakeAThirdOption And then]] there is one other group who think that this comic [[FanonDiscontinuity should not have happened in the first place]] because of people's bias against Mabel in the first place.

** When Stan admits that he hates comics because he wants to draw them but his dad killed his creativity, Soos reassures him it's not too late to get started and he should do what he loves. After all, it's never too late to pursue your passions and find someone who ''will'' appreciate your work. Sure enough, one kid buys Stan's Xeroxed comics because he loves the swear words in it.

* FridgeBrilliance: It would seem odd at first that Stan and Ford didn't bring Dipper along to help find Mabel in the Nightmare Realm. It actually makes sense as Stan and Ford didn't want to lose another young relative in another dimension.
** After Mabel ends up in Dimension MAB-3L, she was amazed by the numerous alternate versions of herself. But after that, Mabel just wants to go back home and plead her alternate counterparts to help her. This serves as a sign that Mabel is starting to see the bigger picture.
* FridgeHorror: If Pacifica's mother's backstory is any indication, it is apparently legal to win people as rewards of a competition in the world of ''Gravity Falls''.
** Considering a person was married to a woodpecker this wouldn't be far off. But judging from her mother's behavior during her reading of the ugly duckling (where she intentionally scares Pacifica with the unhappy ending) this seems like something she did willingly as oppose to being forced to, and was raising her daughter to be the same as her by placing importance on physical beauty than any other trait.
** Even though Pacifica rescued Dipper and Mabel's faces, there were still numerous faces that Mr. Whats-His-Face still had in his possession. It is highly unknown if the faces of those victims were returned to their proper bodies.
** Just how long were Mabel's alternate counterparts stuck in Dimension MAB-3L?
*** For that matter, what do the alternate Mabels have for food?
*** What about the alternate counterparts of Dipper, Stan and Ford? Surely they're all just as worried that their versions of Mabel are stuck in another dimension.

* AwesomeArt: The ending panel of "The Jersey Devil’s In The Details" is a very beautifully drawn shot of Ford and Stan on their boat together.

*** What about the alternate counterparts of Dipper, Stan and Ford. Surely they're all just as worried that their versions of Mabel are stuck in another dimension.

** Just how long were Mabel's alternate counterparts in Dimension MAB-3L?

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blendin Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. Despite seemingly trying to demonstrate Mabel's development, all Mabel actually does in terms of this development is repeat a mistake she supposedly already developed out of, give her brother a book as a present, and make promises about being better, but she's done that before and rarely lives up to them. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmageddon, cynical critics have actually accused this of feeling a bit unintentionally manipulative, as if the comic was more focused on convincing critical fans to like Mabel again than on addressing the actual problems with her character.

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blendin Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and rarely lives up to them. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmageddon, cynical critics have actually accused this of feeling a bit unintentionally manipulative, as if the comic was more focused on convincing critical fans to like Mabel again than on addressing the actual problems with her character.

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blending Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and rarely lives up to them. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmageddon, cynical critics have actually accused this of feeling a bit unintentionally manipulative, as if the comic was more focused on convincing critical fans to like Mabel again than on addressing the actual problems with her character.

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blending Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and rarely lives up to them. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmageddon, cynical critics have actually accused this of feeling a bit manipulative.

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blending Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and subsequent events proved she didn't mean it. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmageddon, cynical critics have actually accused this of feeling a bit manipulative.

*** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blending Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and subsequent events proved she didn't mean it. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmaggedon, cynical critics have actually accused this of feeling a bit manipulative.

** A good portion of the fanbase was very happy with the comic and argue that it was a nice addition to canon and great to see Mabel facing her flaws and their consequences, taking accountability, apologizing for the effects they've had on others, and beginning to take steps to correct for them, and that this was a sign of slow but definite maturation from the flaws that had riddled her throughout the series. They also tend to feel exasperated by the positions detailed below, with some of this opinion feeling that nothing will ever satisfy Mabel critics.

** A good portion of the fanbase was very happy with the comic and argue that it was a nice addition to canon and great to see Mabel facing her flaws and their consequences and beginning to take steps to correct for them, and that this was a sign of slow but definite maturation from the flaws that had riddled her throughout the series.

** The two above groups have also floated the idea that the structure of the story does more work to convince the reader of Mabel's "goodness" than Mabel's own actions do, such as downplaying the conceptual horror of Mabel's actual deal with "Blending Blandin" by retroactively specifying she only wanted a day (and ignoring how much of an autonomy and control violation that is against her brother and the town) and making all the alternates of Mabel even more flawed by comparison (with her opposite being the "evilest" Mabel) in order to narratively position Mabel Prime as the most good one. All Mabel actually does in terms of this development is make promises about being better, but she's done that before and subsequent events proved she didn't mean it. Since the comic does more telling than showing when it comes to Mabel's growth and seems, intentionally or not, structured to subliminally position her as better while actually undermining the growth she allegedly gained in Weirdmaggedon, cynical critics have actually accused this of feeling a bit manipulative.

** A similarly critical but different-minded group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: Mabel's status as a KarmaHoudini. Many of the criticism against Mabel ''weren't about'' her liking the spotlight--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they merely 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 makes her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when well-written, the writers, in this view, 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 this flaw, with Mabel ignoring all previous lessons and walking out of the situation 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. Those who hold this opinion share many ideas with those detailed above but disagree on what should have been done, believing the repeat lesson was ''very'' necessary but that it didn't address enough of the series' writing issues regarding what they perceive as Mabel's special treatment.

** A similarly critical but different-minded group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: Mabel's status as a KarmaHoudini. Many of the criticism against Mabel ''weren't about'' her liking the spotlight--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they merely 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 makes her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when well-written, the writers, in this view, 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 this flaw, with Mabel ignoring all previous lessons and walking out of the situation 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. Those who hold this opinion share many ideas with those detailed above but disagree on what should have been 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 didn't address enough of the series' writing issues regarding what they perceive as Mabel's special treatment, both [[HundredPercentAdorationRating in-universe]] and [[CreatorsPet out.]]

** A similarly critical but different-minded group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: Mabel's status as a KarmaHoudini. Many of the criticism against Mabel ''weren't about'' her liking the spotlight--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they merely 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 makes her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when well-written, the writers, in this view, 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 this flaw, with Mabel ignoring all previous lessons and walking out of the situation 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. Those who hold this opinion share many ideas with those detailed above but disagree on what should have been 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 didn't address enough of the series' writing issues regarding what they perceive as Mabel's special treatment, both [[100PercentAdorationRating in-universe]] and [[CreatorsPet out.]]

** A similarly critical but different-minded group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: Mabel's status as a KarmaHoudini. Many of the criticism against Mabel ''weren't about'' her liking the spotlight--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they merely 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 makes her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when well-written, the writers, in this view, 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 this flaw, with Mabel ignoring all previous lessons and walking out of the situation 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. Those who hold this opinion share many ideas with those detailed above but disagree on what should have been 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 didn't address enough of the series' writing issues.

** A similarly critical but different-minded group to the above feel the comic brushed aside the biggest issue with Mabel and Weirdmageddon: Mabel's status as a KarmaHoudini. Many of the criticism against Mabel ''weren't about'' her liking the spotlight--some even argued that Mabel should have been given more attention and better-quality writing, not less--nor were they merely 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 makes her scenes frustrating for them to watch. While selfishness and AesopAmnesia can be compelling character flaws when well-written, the writers, in this view, 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 this flaw, with Mabel ignoring all previous lessons and walking out of the situation 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. Those who hold this opinion share many ideas with those detailed above but disagree 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 didn't address enough of the series' writing issues.