#...and while we all have our own issues and complexities i think it's... interesting how people go about this

[uncanny-tranny]

So often, I see people who treat certain bigotries as being almost... an unfortunate byproduct of the More Important Bigotry. I see it a lot with bigotries that people are broadly willing to put up with as long as there's a Bigger Picture, or if the bigotry in question is subtle.

Transphobia (for example) isn't an acceptable trade-off for combatting sexism. Often, people are willing to put up with or perpetrate the bigotry (transphobia, in this example) because they see it as an acceptable price to pay for what they actually want.

The thing about bigotry that makes it bad isn't just that different bigotries feed into each other - antisemitism feeds itself into transphobia, which feeds itself into sexism, which feeds itself in racism, and this goes on ad infinitum - it's that bigotry actively affects actual, real people's lives. It prevents people from living, from accessing autonomy, and ultimately deprives them of their human experience. I don't think you ought to see bigotry as a "price to be paid" so you can get yours.

[utilitycaster]

I wanted to explore the idea of people who dislike C3 not engaging with its themes because I haven't actually seen anyone making the argument give a full rundown of said themes, and this may end up being several posts. I'd like to start with anticolonialism. Perhaps it is a theme; if so, I think it's presented exceptionally badly, in a way that appeals uniquely to white westerners desiring to see themselves as a combination of victim and savior, rather than as a complex issue in a story centering the colonized. It got very long, so it's under a cut.

If this is the theme with which we as the viewers are not engaging, I'd argue neither is the work itself - it's largely projection. As many others have pointed out, the use of Marquet, a setting inspired by Africa and Asia (and presented in a highly stereotyped and Orientalist way in Campaign 1 no less) as nothing more than a casual backdrop with little engagement with the cultures present, and with much of the story elsewhere, undercuts that badly. I'd actually argue this is a recurring issue with Critical Role's works; Ank'Harel appears and is even fleshed out more in Call of the Netherdeep, but the story follows, and mostly takes place, among the Calamity-era ruins being excavated and amid faction squabbles concerning them. The culture and politics of Ank'Harel remain a distant second to the greater mythology of the Calamity, and again, after the society and culture and everyday people of the more European-inspired Wildemount took such a front seat in Campaign 2, it seems like a worrying pattern. Given the increased sensitivity and investment towards the cultures based on those in our own world that (for the most part) did the colonizing, and the "set-dressing", as others have called it, status of Marquet, perhaps this world is not a good one to tell that story. What's also interesting, and telling, is that the African and Asian - especially West, South, and Southeast Asian - was even a defense within the fandom: the reason so few of Bells Hells were from Marquet, we were told, is because the cast is white. In that case, and given how Marquet is so poorly integrated into the story that multiple beats relying on knowledge of the Apex War fall flat, why didn't we set this in Issylra (notably, the continent in which modern, mortal-driven occupation efforts are occurring)? And more importantly why are we trusting a group nearly entirely made of white culturally Christian Americans to tell what is argued to be an exceptionally leftist story on religiously-motivated colonialism if we can't even trust them to play a character from a real-world culture heavily impacted by said colonialism?

Another rather significant wrinkle is the fact that those wishing to release Predathos in the service of destroying the gods were happily working with the Kreviris Imperium, who desired to colonize Exandria. Remember how everyone was just talking about how the poor Ruidians would die if the planet were destroyed and how they're the victims in all this (and honestly, I don't disagree that the commoners of Ruidus, especially those without psychic powers, have a uniquely rough deal) when the planet cracks? Well, let's talk that through. I think the role of the Vanguard's Ruidusborn in this is rather important, ie, if they are throwing off the colonialism of the gods (to be discussed later whether I consider that valid), they are doing so by stepping on the necks of the common people of Ruidus. And if those people will be doomed by the release of Predathos, it is Bells Hells who doomed them.

The people of Ruidus were told of their manifest destiny of the Blue Promise by their governing body (which also served, effectively, as religious leadership, with mind control). I think "Propaganda" is a poor real-world metaphor for "sends dreams of the land promised to you each night, making you both jealous of what they have and very much influenced by their culture, while you have no dreams of your own" but it's the best I have, but that itself occupies an interesting space. It's a great beat for sf, but this actually leads to a rather worrisome metaphor regarding the nature of cultural influence (which was spoken of on a 4-sided Dive and is often cited here, and I think the way it's discussed fails to consider the implications). The idea of cultural hegemony and globalization is a very real one. It can occur within one's country (I, a non-Christian American, am well acquainted with many Christmas songs and traditions and am given Christian holidays off work but must use vacation for my own). It can also occur outside of it, as with globalized beauty standards - white ideas of beauty leading to light skin being prioritized in India, or double-eyelid surgery becoming common in South Korea. The situation on Ruidus therefore has some interesting implications. What does it mean for them to have inherited culture from Exandria - but at the hands of their own government that seeks to colonize Exandria? Is this a good way to explore these topics, when Exandrians are neatly excluded from the spread of their own cultural hegemony (as they had no idea) and are also poised to become the victims in this colonization? This idea, incidentally - that the people of Exandria exist in an impossible in-between space in the colonization metaphors, blameless victim yet free from the ugliest consequences of being a colonized culture - will recur, and I think that is the most damning evidence that this is at best a story of anticolonialism stripped of nuance and complexity.

In a further exploration of the cultural impact of colonialism, what does it mean that, again, I, Jewish from birth and raised in a Jewish home and sent, even, to a Jewish school through middle school (though not a Jewish preschool) have a pretty thorough knowledge of not just Christmas songs, but could probably name a bunch of individual Christian denominations and maybe even the intricacies in how they depict their crosses - while generally having freedom to practice my religion within the dominantly Christian US, if not equality in doing so - but Bells Hells, living under the presumed thumb of the gods, can't reliably tell their symbols or domains? Others have already covered this but if the gods are the dominant force, why have Bells Hells managed to largely avoid any actual consequences for godlessness other than "when I asked for something, I didn't get it?"

Why have all the governments we've seen, save Vasselheim (which, again - we haven't ever spent a ton of time in, so why did we go to Marquet again?) failed to convey religious dominance at the hands of the gods? The Clovis Concord, Tal'Dorei, Whitestone, Niirdal-Poc, Syngorn, and as far as I can tell Ank'Harel, Jrusar, Bassuras, Court of the Lambent Path, and the Stratos Throne (and if the latter isn't then Imogen and Ashton grew up in its borders without any religion forced upon them) are all secular governments that at most have outlawed Betrayer God worship. The Empire (in which Ludinus Da'leth has been a major political force for centuries) has strong restrictions on worship of all but six gods, and if you look at the first Tal'Dorei Campaign setting, it was at the timed conceived of as banning all deity worship. The Dynasty is a theocracy for a non-pantheon entity, engaging in missionary work but largely depicted as (if I may, oddly) devoid of violence. While Uthodurn's King Imathan Talviel is himself a worshiper of the Arch Heart, Uthodurn appears to have no state religion. Indeed, I'd say, as again, someone of a frequently persecuted religious minority, who lives in a country with a dark history of forced conversion of the native colonized people into Christianity [the Native American residential school system] I'd say that for a world in which the gods are objectively real? Exandrian governments are bizarrely lenient and bloodless when it comes to religion. Only the Dynasty even has a state religion of the aforementioned locations, and they don't even outlaw worship of non-Betrayer gods. The Empire, Concord, and Dynasty have, at most, fines or incarceration for worship of illegal deities. Hearthdell lost more people from their own attack and from the people teleported away by the solstice than from the missionary work; you think the might of Vasselheim couldn't have slaughtered the entire town if they went in? The only places we know of as even possibly more brutal are the Betrayer-worshiping Iron Authority, which remains vague and undescribed (weirdly, actually, given that the Crown Keepers might have gone there in the time between EXU Prime and Bells Hells); and Aeor (execution by hanging for deity worship).

I am not saying that any outlawing of religious worship (nor lack thereof) is a good thing, but we live in a world where people have - and still are - killed for gods for which we have, in my opinion, no proof of existence. It is unbelievably telling that the grievances provided (Tuldus, Ludinus, and members of Bells Hells) are all entirely individual experiences rather than anything systemic. It's people mad at their small communities or their parents, and that anger is valid, but it is immensely dangerous to take one's own individual negative experiences and treat it as systemic. This is the underlying motivation of how countless people are radicalized into hate groups (see: MRAs/incels, who are mostly mad at their mothers or at the fact that increased rights for women means women don't have to date or marry men if they don't want to - men are still the dominant class here, but their perceived individual slights and their extrapolation to this as systemic dominance of women is the radicalizing factor). The fact that Exandria has failed to set up a world where this is any sort of religious hegemony - Vasselheim is certainly important, but they aren't even a centralized governing body of worship a la the Catholic church, let alone a force outside of Othanzia, and are seen as an ally by the nonreligious Percy and Keyleth - again lethally undercuts the idea of this as anything but the most softened and childish discussion of colonialism and religion. Even Deanna's question to Pelor regarding Hearthdell reveals it as inaction - a failure to stop - rather than a command to act. It's at the level of how we teach American kindergarteners of the first Thanksgiving, except unless the entire narrative is wholly unreliable this is the actual story of Exandria. One giant pulled punch.

To quickly cover other items highly relevant to any sophisticated discussion of decolonialization/postcolonialism/colonialism in general that are absent from Campaign 3, and indeed Exandria as a whole: as multiple other fans have discussed, there is no concept of people of mixed race if the gods are the colonizers here. There is insufficient discussion of how, for example, many colonized or oppressed cultures have adopted western religions and see them as highly integral to their culture today - Catholicism in Central and South America and parts of Southeast Asia; Islam in other portions of Southeast Asia; Christianity within Africa and among African-Americans descended from slaves. This does not make the original forcing of said religion right or just; but any discussion of decolonization must account for the wants of those colonized, and I find that Campaign 3 fails to do so. The lack of meaningful conversation with common people across Exandria is something many of us have brought up. If we assume the members of the Accord are not necessarily speaking for those they rule, why do we have no concept of how the people at large of Whitestone, Gelvaan, Jrusar, Bassuras, Uthodurn, the Silken Squall, the Empire, the Dynasty, and the Tal'Dorei Republic feel? And if they are speaking for those they rule, well, we know how they feel.

I finally want to discuss that weird and, in my opinion, nonexistent irl space between actual colonizer and the colonized that mortals occupy. I personally reject the idea of the gods as colonizers given what we've seen in Downfall and because the metaphor is rather messy given the mythic scale. However, let's let treat them as such in this moment. Exandria was populated by titans. The lore is (possibly deliberately) vague and at times contradictory here, but either the titans lay dormant for a time after the gods arrived but before mortal society developed; or they lived in harmony with said mortals (who were created by the gods). They assisted, in some tellings, of the sealing of Predathos by the gods. They then, for unknown reasons, either awoke, or turned on the mortals; in the resulting schism they were killed and sealed by the Prime deities and the mortals. The Betrayer gods were those who wished to leave. The Betrayer gods too were sealed. The last known titans, sealed but not dead, were either destroyed or banished by the Ring of Brass during the start of the Calamity in order to prevent complete annihilation. The titans are now dead. Per Ashton's commune with them, there may be something that will rise again should the gods be eliminated; [only] the strong will survive it.

Questions to consider:

Why are a number of fans arguing that this story is one of anticolonialism so eager to place blame on Asmodeus and hope Predathos eats him first, when he is arguably the ringleader of those who most hoped to leave Exandria to the titans while they were still living? Do you hate the leader of the one most willing to decolonize? Or is the issue that this would also mean abandonment of the mortals, in which case, which is worse - destabilization or maintenance of a current situation (ie, the status quo)?

If the gods are colonizers, why isn't Predathos? It is no more a native of Exandria than they are. We know the gods were driven by an existential danger to their lives (which may or may not have been Predathos). Did Predathos lead the gods to Exandria and later corner them there, setting all of this in motion? Or is Predathos no different from them, driven to Exandria out of the need to survive? Given the titans opposed Predathos as well it is difficult to paint it as their savior (and the idea of an external savior of the colonized is, as discussed, one with unfortunate implications)? What is Predathos, and why is it better than the gods, if you believe it to be?

What are mortals here? They are not colonizer, nor are they native. I've discussed the (also very unfortunate) implications of treating sentient beings as ecology metaphors, but given that mortals truly did have, per the story, no agency in arriving on Exandria but were rather created here, are they akin to a non-native species? Such a species can be either invasive or beneficial, which fits with the idea of mortals being unique in their ability to change. Mortals were the ones under threat from the titans despite, again, being neither colonizer nor colonized; mortals participated in their destruction.

Where do the eidolons - seemingly unaffected by all of this - fit in? For a story about how change and newness might bring a better world, why the focus on the long-dead titans instead of the nature spirits that have seemingly taken their place? Why are many of Bells Hells constantly looking back and not forward?

And that last point feels particularly salient. The people of Exandria - a people whose opinion, again, in this campaign, it feels we have failed to explore - exist in an in-between state. They are more the heirs of the colonizers, in this assumption that the gods are colonizers, than the colonized. They cannot undo what the gods did. The gods can at this time only act through them.

What does it mean that we as the audience are intended to see ourselves most in a people who were not themselves those doing the colonizing, who are now under threat from colonization, and who might cooperate with the driving force behind that colonization? What does it say that our mortal viewpoint characters put more effort speaking to and for the dead than to the living? What does it tell us that many of them see themselves as the victims? What does it say that past campaigns had multiple characters subjected to actual systemic oppression (the twins, Jester, Molly, Veth-as-a-goblin, and Fjord all experienced racism) and explored the concept of the other (the Dynasty) and Campaign 3 never did? And when we add that to all of the above - that this world has failed to set up religion as even remotely close to both the meaningful and the oppressive force as it is in our own, despite the gods being real, that the grievances are individual and not systemic, that nearly all actions by the gods are motivated not by greed but by survival - is this an anti-colonialist work? Does it grapple with the problems of decolonialism meaningfully? Or does it let a white American viewer fantasize about a world where they are the oppressed, under threat of colonization, where their personal grievances are all forms of systemic oppression, cleansed of their own complicity in these systems, and where they can never be blamed for their actions because this is all so hard to choose- despite a far softer and gentler world than the one in which we actually live. And does it do so in a work they were going to watch anyway because they've been watching since well before this was introduced, thus permitting them to pretend they are experiencing a sophisticated anticolonialism narrative without having to go through the effort of actually reading that linked pdf of Orientalism they reblogged?

[askhezureviews]

Helluva boss sinsmas is OUUUUTTTT!!! What’re ur thoughts? :3

For the finale episode, Stolas is now living with Blitz, and its kinda crazy how the show is acting like this is romantic domesticity, while simultaneously revealing how much these two aren't even friends that know basic things about each other, like Blitz's horse collection/obsession as well as what Stolas even eats.

Stella and Andrealphus won't let Octavia talk to her dad. They laugh like annoying hoity toity disney villain rich people. (Stolas is also treated like shit by all the imps and later cries about being poor, still feels like we haven't addressed his classism yet)

We have Sinsmas, a scrap of worldbuilding in replacement of Christmas. We ALSO have scraps of Millie facts to her character that don't add anything to her depth but are still nice to know!!! : She snores while she sleeps, and she doesn't like musicals like her husband at all, she actually prefers slasher horror films.

A lady client shows up at IMP, basically spoofing Stella. She comes in, exasperated and angry, saying her husband cheated on her, and she doesn't want him to have a happy day with their daughters after what he did to her, which is justified anger to a degree. Then the show suddenly reveals the lady is homophobic, claiming her husband is "poisoning their daughters" with his "heinous lifestyle" and later proclaims Stolas' fantasy diary didn't arouse her like gay people are supposed to be a kink and not actual people- which had me rolling my eyes with how on the nose they're attempting but failing to be, because despite everything, Stella herself has never indicated she was homophobic. She very specifically indicated she was more upset that he slept with a low class imp in their shared bed. She's never jabbed at the fact that Blitz was a man. They're doing everything in their power to villainize Stella as much as possible to justify Stolas's initial cheating on her from season 1 instead of keeping Stolas's a complex, grey character for his actions.

We still don't understand Stella's relationship to her own daughter, i have a hard time believing they have one at all.

Octavia writes a song, which, I really like the lyrics for. "I'll be okay, but I'll never be the same. I'll grow without you, I'll be okay, but I'm not okay today." Very nice The one lyric of "This used to be your home" is awkwardly out of place, because season 1 Octavia claimed "I want to go home, but home doesn't feel like home anymore, you ruined it." Which I think the writers forgot about, because this place hasn't been home to Stolas or Octavia in forever.

Stolas gets all butthurt that he can't contact Octavia, and suddenly tears apart his BlitzXStolas fanfiction and rushes to see her- this guy seriously- I mean come on man, pick a lane The last threat of the entire series that would ever be a problem for our main characters: Adrealphus, is defeated in this final episode, so not even he is a threat anymore. Stolas and IMP are now completely safe with no issues outside of possible bankruptcy, but that's always been a background gag/issue anyway. Octavia saves her dad, and confronts him about his antidepressants, saying "Was I just an obligation? You were never happy with us, we were never enough for you, you chose Blitz." Which is 100% all true. Octavia was an obligation, he wasn't happy with her and Stella, he neglected Octavia enough to still treat her like a baby, not aware of her new interests at all. He chose to save Blitz at the cost of his own life if not everything he owned.

So Octavia has every right to be angry, however, it's very annoying to me that she feels betrayed to this extent by him, because she knows for a FACT that Stolas has been trying to contact her every day for a month straight, she knows for a fact her mother isolated her from her father, she knows for a fact Andrealphus attacked her father and almost tried to kill him. It's weird she doesn't give credit to that at all.

It's also weird Stella doesn't come outside to watch this, she loves seeing Stolas tormented, Stella keeps getting left out of everything, even the trial, and it doesn't make sense. Blitz sees the two guys in the window they're supposed to kill with their daughters, and it reminds him of him, Stolas, Octavia, and Loona. From where I'm standing, this isn't possible. Octavia hates Blitz, she interacted with Loona vaguely once, and she also isn't on good terms with her father right now, and as far as I'm concerned Loona isn't either. Her big moment with calling Blitz "dad" was when he was dangerously binge drinking and whoring himself around, Loona wanted to use him as a connection to the life of the party to be more popular- this shouldn't have been a big father-daughter moment at all.

Millie is pregnant, which isn't an issue outside of money I guess- alongside the fact that she seems to love her job and doesn't want to give that up- but she has a family who she can fall back on, she'll be fine. I'm really worried she's gonna go from Moxie's wife to Moxie's child's mother instead of being her own character.

Final thoughts of Helluva Boss: The writing has turned into unreliable narrator steeped in continuity incompetence. I think the creator sees both the criticism and the support for her show, and weirdly tries to appease both, but ultimately shows two entirely different interpretations with each new episode, (Was Loona's kick supposed to be funny or fucked up? Is Stella supposed to be jealously angry or stupidly petty? Is Striker dangerously competent or arrogantly incompetent? Are Stolas and Blitz using each other, or are they best friends forever soulmates? Are the sin embodiments supposed to be evil or good? Is Blitz actually a bad person, or was everything an accident? BOTH???) In the rising lack of media literacy on the internet, on top of constantly changing interpretations of these characters within its own show, it's a no brainer why the fandom is so divided. These may as well be two entirely different shows thanks to the confused writing. Overall, very very sad to see where Helluva Boss went. Definitely dipped and continued to flatline across season 2. There's some really good ideas in here, but the execution is flawed if not sometimes misguided. It's sad and a shame to see this for such a brilliant, original idea of a show like Helluva Boss, and by extension, Hazbin Hotel. At the very least, their origin pilots I hope will continue to inspire people regardless of the roads they went down.

[victoriadallonfan]

Having re-watched Alien (1979) and Aliens (1985), I think I've realized what went wrong with the further expanded film universe on a thematic level (this is not accounting for AVP films, which seem to exist within their own continuity atm).

The main issue is that these films made 2 intertwining mistakes:

Making the Xenomorph too animalistic

Removing the mystery of space

For the first part, Alien and Aliens are quite vague about the Xenomorph mind. Alien treats it almost like a serial killer at times, including a particularly interesting moment where it disregards Jones the Cat entirely, despite making a very easy target, and how it will sometimes meander up to the crew as if it knows it's inflicting terror upon them. This Xenomorph even seems to only flee when Parker goes to kill it with a knife and hides within the evac shuttle when it realizes that Ripley was going there as well.

Aliens forgoes this in favor of showing how terrifying their numbers are even in the face of superior (if greatly mislead) fire power, but then pulls the rug under our protagonists by (seemingly) cutting the power and testing the endurance of the auto-turrets. While the drones are not individually as intelligent as the original xenomorph from the first film, this is instead given to the Queen, who understands not only the danger Ripley poses to her Hive but hostage negotiations of the most blunt variety. And, of course, incredible spite and vengeance when Ripley burns her eggs.

Basically, the two films do a good job of making you wonder... how sapient and sentient are the Xenomorphs? Do we take Ash's word and think of them as simply Hostile Weapons or do we see them for the adaptable and complex - if instinct guided - parasites just trying to protect their hive? This is further food for thought when we learn that one of the cut endings would have had the Xenomorph kill Ripley, tentatively use the shuttles control panel, and speak into the intercom with Dallas voice (ala Predator).

Imo, that goes too far into making them human, but we'll circle back to that later. The point is that the Xenomorph is never clearly one thing or another, but rather, something that constantly foils our attempts to understand them completely.

Aliens 3, Alien: Resurrection, Prometheus, and Alien: Covenant fail in that regard, because they take the firm stance that the Xenomorph is... an animal. A very, very, dangerous and hostile animal but an animal nonetheless. It's not some vague horror that we struggle to comprehend and reason with, because all the facts (as they are for now) are laid out: the Xenomorphs are weaponized animals that just kill, reproduce, and kill etc etc.

Nothing is entirely new about the Xenomorphs in these movies (beyond the forms and one part of Covenant, but we'll circle back to that as well), but rather trying to recapture the formula of Alien and Aliens. And even when the film isn't necessarily about the Xenomorphs like Prometheus, it still goes out of its way to copy the play by play of Alien to an almost hilarious degree (except, somehow, having a cast entirely of stupid scientists).

The Xenomorph is used as a toll for the films to talk more about the human threats who would use them, which is fine, except the same message of "Weyland-Yutani wants Xenomorphs, They Failed" over and over again (except I guess for Alien: Resurrection, but that had Walmart as a plot point so...) gets tedious. It's not longer about the folley of mankind, but rather this one company led by a man (or Android?) who keeps fucking up.

Ditto goes for the second part: removing the mystery from space. Alien and Aliens treat the Space Jockey and other (non-Xenomorph) alien life at an arms distance. They are large, grand, ominous, and vaguely defined. We don't know much about WY in either movie, nor how much is them knowing versus independent people within the company (Burke mentions cutting out his own bosses for profit for example, and Bishop the company Android is heroic and horrified at the situation they are all in, a big difference to Ash). The Xenomorphs having a Queen was a huge reveal, because we literally had no idea until then if those were actual eggs or simply pods artificially created.

Aliens 3 tries to add some mystery with the prison colony, but it's also hamfisted and given a lot of exposition to explain the situation they are in, but I will give it kudos for making Weyland (???) look like Bishop as a twist. Aliens: Resurrection... yeah, no.

Prometheus and Alien Covenant gave us a plethora of seeming mysteries, but also gives us really super simple answers. Basically, Space Jockeys are just super humans seeding life across the planets and they wanted to bomb Earth into oblivion because we killed Jesus Christ (who was a Space Jockey). And one of our androids then - possibly - goes to their home planet and bombs them to oblivion thus wiping out the human race. And they made Xenomorphs yadda yadda.

Prometheus in particular seems to despise the idea of space being a mystery, with the conversation David has with a scientist being plainly spelled out as the theme of the film: "Sometimes, humans/space jockeys just build shit, and it goes wrong I guess. No gods or mysteries here, just hubris."

Which, if handled well, is still a fascinating idea (I think it's a pretty interesting 'take-that' against the stupidity of Ancient Alien Conspiracy Theorists)... but it's not handled well. At all. And certainly doesn't work well when trying to write Xeno-Horror.

So, what COULD work?

Well, I think we need to look at how Alien and Aliens made the Xenomorphs, Space Jockey's, and Space itself all work.

For the xenomorphs, I think back to one scene I actually thought was interesting in Alien: Covenant; as a chestburster is born from a hapless scientist, it lays its eyes (???) on David and replicates his movements, mimicking the first living thing it witnesses. Nothing is ever done with this (of course), but think about the potential that could be used! Plenty of animals like crows, ravens, dolphins, octopi, killer whales etc etc can use mimicry in voices and actions, and that includes things like tool-use! And of course, the fact that they take on new forms from hosts helps with that.

For the Space Jockey's: scrap them. They had their time, the mystery is basically solved. Show us new and different alien civilizations long past. Were they also victims of the Xenomorphs? From some other threat entirely? Surely, there are extraterrestrial predators out there that don't follow the Xenomorph formula. Why not have them share the splotlight, with just as little explanation?

For space itself: stop with trying to recapture Alien and Aliens. Alien: Isolation is the only successor specifically because of the format of the medium. Alien and Aliens rely heavily on the shock factor of sudden reveals. Remove that, and you are given "bug hunt" games and movies ala discount Starship Trooper. Focus more on making human space feel almost alien and beyond our understanding as well, but just enough that we can recognize the purpose that we would have them for our society.

How I would write an Alien Story:

(This would all be backstory and setup for the actual story)

I would set it within a colony satellite with an explicit task: a skyscraper ecological time-capsule for deep space experimentation of wildlife.

It would have levels, with humans situated at the second uppermost and an AI as the manager at the top level of the satellite, with all the other animals in different levels fit for their habitats (including some non-earth, non-xenomorph aliens). It's a religious sponsored and run organization, offshoots of [Insert Church Here] that is trying to get good press with cutting edge AI and biological research.

The prize is an alien lifeform that looks like a cross between a crocodile and a panther. Usually docile when fed, it has been growing more and more agitated, harming several workers on the job. Most assume it may be some late-stage degenerative disease within it's brain.

Not all things are as it seems, as at the bottom of the station, a location no one but a select few faithful engineers are sent to maintain, a pod is damaged. A young attendant watches in shock and horror as a bloody and maimed chest burster crawls out of the pod, possibly having injured itself to burn through the lock. The creature is mewling in pain, but the young attendant makes a choice: leaving food, water, and blanket for the creature. Watching as the creature watches them, before going to feast. All under the gaze of a camera.

The xenomorph grows and grows, eating more, getting bolder and allowing its "caretaker" to feel more comfortable. Soon it begins to recognize certain sounds as they pray when he feasts, and association occurs. One day, its hiss sounds suspiciously like "Lord".

This is when the young attendant reaches out to higher, but trusted, priests to share this miraculous revelation. The first one is shocked, terrified, but intrigued as the creature mimics words like "Lord" and "Mighty". Barely audible, some would say hallucinatory, but they believe they can here this humanoid creature speak their language.

The second is equally shocked, terrified, but listens and becomes a believer.

The third one does not believe. Rightfully horrified and full of questions. Their arguments in front of the beast escalate into violence and when the young attendant shoves the priest to the ground, it is the Xenomorph that pounces. Blood is shed. the creature rises in front of it's faithful, and the Xenomorph uses the same sounds it heard over the fight. Lord. Mighty. Here-tik.

They can't be delusional or driven by guilt! This is a sign... right? This creature is speaking to them!

The faith grows. Never large. Can't risk word getting out or people noticing too many missing priests. The satellite is just barely large enough that people can excuse going missing for a few days between objectives.

But key individuals are brought in. The creature is worshiped. Animal offerings are delivered. It's changing, slowly. Growing larger (not a Xenomorph Queen, it's too maimed, but adapting to a steady diet).

Things might have escalated, had one of the priests killed not had an estranged sibling/spouse/loved one who had the pull to make a formal investigatory complaint.

The investigator arrives with his repertoire, this supposed garden of eden in deep space, none the wiser to what he would uncover. (Again, this would be the backstory, not revealed except through character investigations and evidence found during that. Defeats the purpose if it's spelled out like this).

It would play with the idea of how sapient/sentient the Xenomorphs are (do they care? do they understand? if not, why act like this? if yes, what does this mean for their continued slaughter), how much one puts into faith versus delusions, and leaves lingering questions: who put the xenomorph on the ship, why is the AI so complicit with the deaths and disappearances, and why is the one non-xenomorph alien acting so dangerously agitated despite being far away from the xenomorph's quarters?

[snaccpopstudios]

Hi everyone! We're here with the long awaited post on our newest bachelor, Simoun. We know you've all been abuzz with questions about him so we hope to answer some of that in this deep dive into his creation. This post is in lieu of our usual Wednesday devlogs as we've been writing this over the span of several weeks, and was co-authored, edited, and reviewed by Tobias, Jude, ToyboxToonz, Primarvelous, and Sauce. The above image was drawn by @toyboxtoonz.

You can read the full post for free on Patreon, or click the readmore to see it all!

Personally speaking, some of my concerns since Simoun's debut are thoughts like "Do people think I'm making SnaccPop Studios push an agenda?" and "Do people think I'm going through a checklist while making new characters?" It's made it difficult for us to write this quickly because this is quite personal to myself and the rest of the sensitivity consultation team on the DachaBo team.

Concept to Creation

The story of DachaBo begins way before SnaccPop Studios itself was even a concept (that's Sauce's story to tell though). Early Patreon art of Simoun exists from November 2022, back before I was signed on to manage the Patreon and any other projects besides Sunny Day Jack. Sauce had some ideas laying around for several other characters in the DachaBo universe that didn't make it into the proof-of-concept demo:

I dug up an old draft for the DachaBo cat character we teased and it featured a story concept where the cat character was originally a female DachaBo character, referencing the original female design. And overtime he got tired of how he was being treated and decided to change his own self to reflect who he wanted to be, not the sycophants who collected the toys and whatnot ... It was shelved because I didnt have the means to sensitivity check it The designs are half cooked is all but he was supposed to be Indian ethnicity coded for no other reason than I've never seen a character like that

One thing that's important to note is that there definitely are Indian folks who are gender diverse (see Hijra on Wikipedia for a quick primer on one of the traditionally recognized nonbinary genders in South Asia) so it's not a novel concept by any means, but it's also not very common in media whatsoever.

Why The Long Wait?

One of the other contributing reasons as to why Sauce wasn't able to do much with the concept at the time is because we didn't have a VA for him confirmed yet, as I explained in May:

One thing that's rather unique to SnaccPop Studios in all of my experience as a game developer is the fact that all of our series involve coordinating with Voice Actors from the start, which means we need to take the VAs themselves into account when making characters. Adding another layer of complexity in hiring is the fact that SnaccPop Studios is a strictly Erotic Adult brand focusing on masculine love interests, and even if we focus more on the softcore, there's still the unfortunate stigma that any 18+ work has when attached to your name. All of these contributing factors make the potential talent pool that much smaller. This isn't to make excuses: I know SnaccPop Studios can do better on this front. While we can't make changes to some of the existing series' main cast (we don't want to put people out of a role they've been promised), we will do better moving forward to incorporate more diverse characters into our future titles, and that's a pledge

In the field of voice acting, it's best practice to cast actors with similar backgrounds to the character they're voicing, particularly for characters from marginalized populations (ethnicity, culture, gender, etc.), because it's a recurring issue in all professions where marginalized folks are regularly turned down for employment or career opportunities. You don't have to look far for instances where other voice directors failed to cast the proper talent for a character, even in the AAA sphere where they ought to have the resources to be able to find the proper talent; at SnaccPop, we wanted to avoid that situation at all costs.

Finding Simoun's Voice

So we had to confirm a VA first before we could do anything. Sauce, Reece, and I all tried to put private ads out for a trans masc POC (any ethnicity with dark skin) actor for a R18 game, which was largely met with silence at first, then responded to by folks who didn't fit the role in a full capacity (many only hit one or two of the criteria we laid out, some of them none at all). And it's not hard to imagine why: it's common knowledge that the majority of erotic works often fetishize marginalized people who are otherwise underrepresented in mainstream media. Things such as skin color, body type, hair color, age, etc. are treated as traits to be objectified, and on the off chance that queer folks or people of color might see themselves in porn… it's usually not for the most flattering or empowering of reasons. How could we, an exclusively Adults-only studio, convince someone who isn't familiar with us that we wanted to make something for people like them rather than something that turns them into mere masturbating material?

We were almost about to give up on the Catboy until I decided to take a chance on contacting a VA whom I hadn't had any formal and proper interactions with before. I'd been a fan of his work and knew him from an audition he sent in from a previous game I had worked on, but he knew me solely by name at best since we were following each other on Twitter. Still, it was a lead, and after chewing my nails for half a day, I shot off a message to Soren Viloria.

And what do you know? He said he'd give it a shot as his first NSFW role.

Naming the Lad

Soren is a Filipino VA, and despite the fact that I myself seem to be mistaken as Filipino by other Asians quite regularly, I'm actually not as well-versed in that culture as I ought to be.

There's actually a reason why we were so secretive with Simoun's name for a while: he didn't have one yet, so internally we just kept calling him "the Catboy." We wanted to pick a culture-appropriate name for him, something that was meaningful: Soren initially suggested "Siopao" as it was a common cat name (it's a type of Filipino Steamed Bun, so think of how many pets you've seen who have names like Cupcake or Nacho Supreme), but that didn't seem serious enough for a tsundere catboy like him. A few days later, Soren did a little research on a few well-known characters from Philippine media/culture that fit the bill a bit better:

Elías from the Philippine Revolution novel Noli Me Tángere (a required reading in the Philippines). Cat may like his radical tendencies for revolution and his deep, devoted connections.

Simoun from Noli's sequel, El filibusterismo. Holds revolutionary values similar to Elías, but far less noble and more of a loner. Violent at times, and will do what it takes to get his way.

Panday/Flavio, a very popular hero. Part of his charm is that he doesn't have special powers, but took matters into his own hands and forged a magical blade. Has been portrayed in both 'cool' and comedic ways.

Ricardo "Cardo" from the Philippines' longest-running TV drama Ang Probinsyano. Just a cool action hero dude who cares about family, but is also very ambitious and angy.

Seeing as how we already had an Elias Gallagher, Simoun seemed to be the perfect fit, and the name stuck pretty easily.

Simoun's Boundaries

Now that Simoun had a name, we were able to talk about him more seriously beyond the simple "tsundere cat" tropes. You've all already met Gil Finnegan, who we originally brought into SnaccPop Studios to handle the narrative design for DachaBo but was then onboarded to help with Sunny Day Jack, and those of you in the Patreon Discord server are familiar with our mods Tobias and Jude; along with me and Soren Viloria, that brought the grand total of openly trans masculine members on the team.

We all talked about our personal experiences as trans masc/AFAB people, what things we rarely saw reflected in both mainstream and indie media, things we wanted to see more of. Something we all agreed that was difficult to find was trans masculine folks in sexually dominant roles in erotic media, whether that was live video, audio, writing, art, or a combination thereof; there was only a handful of series we could count on our fingers as far as sexually explicit content that featured trans masculine people in roles that weren't exclusively submissive/bottoms, and the majority of us had already seen those or at least heard of them before (ie. Gummy and the Doctor and Sasha From The Gym were prominent ones). Either discovering this content was difficult due to Search Engine Optimization favoring depictions of trans feminine folks, or it simply didn't exist.

All of this, along with the backstory that Sauce had for Simoun, led us to determine that Simoun would be adverse to submissive roles in intimate situations. Simoun isn't the type to want to be penetrated either due to previous trauma surrounding his gender. Bear in mind that this isn't meant to imply or suggest that there is only one "acceptable" sexual preference for trans masculine folks, nor is Simoun meant to represent all of trans masculinity; he may be our first trans masculine character but certainly isn't the last, as we hope to feature more types of characters at SnaccPop Studios.

As an aside, it should be noted that the trend of erotic trans feminine content being more readily available doesn't necessarily mean that trans women have more positive representation per se; for every kinky piece of art created by trans feminine folks out there, there could be ten more works that fetishize and objectify their bodies. We probably don't need to tell you about the common derogatory slurs that have been used to refer to them; trans feminine and trans masculine people deal with varying levels and types of transphobia as well as situations that oversexualize (or even undersexualize) them, and it's important to focus on content that doesn't strip them of their autonomy.

There actually was a period of time between the release of his concept art after Soren was onboarded where the team observed comments both on Patreon and in the Discord regarding Simoun, and we discussed how we could avoid having people try to ship Bo and Simoun together; because Simoun hasn't had bottom surgery of any kind, we wanted to ensure that tokophobia (fear of pregnancy) or dysphoria wouldn't become a thing for any of us involved in the team or for our trans masculine Patrons. It was a bit of a chicken or the egg situation, trying to keep up with the evolving comments about Simoun to try and anticipate what people might accidentally say.

Debut Day Thoughts, & Moving Forward

We were quite happy with the general reception everyone had with Simoun, and we're excited to see so many people taking a liking to Simoun after his reveal. SnaccPop Studios has always strived to provide inclusive and diverse stories for those who don't often get represented in media, much less NSFW media, and the team was quite elated to see folks who were just as happy to see Simoun.

We hope that the love and care we put into building Simoun has shone through in this post and will continue to shine as we write more of him for DachaBo, because we're just getting started.

[rainbowsky]

This is not a question, but a reflection. With this BF story, I thought a lot. And I think that as French, I don't have the same point of view. I was especially shocked by these words: “he must be educated”. France has a deep colonial past. and I thought: "we must educate these ignorant Chinese? but who are we to think that we are better and superior? we who today have so much hatred for them?" Each country has its point of view depending on his history. no need to respond if you don't want to. And thank you for your always respectful and thoughtful publications.

This is in reference to a previous post.

Bonjour lyndariell, j'espère que tu vas bien. ☺️

This is a perfect example of what I was saying about this being a very complex issue with a lot of different perspectives and angles.

In order to make sense of and come to terms with this issue we each need to find the right balance between upholding our own values and respecting the values of others. That's bound to be a tricky process because we're each coming from a different region, with different backgrounds, experiences and perspectives on the world.

Each of us will have a different degree of empathy and alignment toward one or more of the various stakeholders in the situation as well, based on our own experiences, interests and values.

In other words, it's complicated.

It is true that for some people, hearing so many white Westerners say that a Chinese man half a world away 'needs to be educated' on any topic might legitimately feel distasteful and wrong. There is this Western conceit that our values and way of life are superior and obviously correct, and that other nations are just 'behind us' in heading toward the same goals*.

*Although the same is also true going East to West.

It would be totally understandable if some people were to reject the Westerners' characterization of this issue and say that the choices that led to blackface being used in this film are not our choices to make. After all, the filmmakers are telling a Chinese story to a Chinese audience, and they know best how to go about that.

Fair enough. But...

Speaking of colonialism

While we're on the topic of colonialism shouldn't we also be talking about China and its role as a neocolonial power in Africa? As I said in my previous post, it's not really fair for us to look at things solely from our own perspective and in the context of the cultural environment we are in rather than considering the cultural environment this film was made in.

Have you heard of the Belt and Road Initiative? Actually you don't need to answer that question, because almost every turtle has definitely heard of it. GG sang a beautiful song in celebration of that initiative not that long ago, complete with a video highlighting some of the major projects involved.

I didn't post that video on my blog, but you can watch it here. All the bridges, trains and other infrastructure you can see in the video are projects from the Belt and Road Initiative; China investing across Asia, Africa and other regions to improve transport and trade (and to build on China's power globally).

I'm no @potteresque-ire, so I'm not going to break it all down in a meticulous, intelligent, well-cited masterpiece, but you can learn a bit more about it here. There are also countless online articles, papers, analyses, critiques, accolades, etc. from every possible angle out there if you want to dig deeper.

Some of the core strategy of the initiative involves proposing massive infrastructure projects in poor regions, loaning them the money to make the projects happen (loans in the billions), and stipulating that the contracts must be completed by Chinese companies. Resulting in countries with shiny new railways and hospitals built and paid for by the Chinese government and Chinese corporations, with these countries massively in debt to China for many decades to come and with deep trade ties to China.

Depending on who you ask, Belt and Road is either an exploitative, environmentally disastrous neocolonialist power/resource grab, or it's an innovative unifying effort to improve the lives and trade of its member nations.

I personally feel its a bit of both.

Whichever it is, it does have a very dark side. There have been many stories coming out of these regions, telling about slave-like working conditions and horrific abuse from the Chinese contractors toward their African workers. I made the mistake of researching this and let me just say that what I've seen cannot be unseen. There is a reason people make snide jokes about the "belt" in Belt and Road.

And that's just the Belt and Road Initiative. There are a lot of other Chinese individuals and companies going into regions across Africa to take advantage of the people and resources for their own monetary gain. I posted about one such example the other day.

So in considering imperialistic attitudes it's only fair to reflect on what it might mean for a Chinese person to wear an African ethnicity like a costume, in a country that is frequently racist toward Africans and which is thought by many to be exploiting African nations with a form of neocolonialist debt slavery.

Particularly when said costume leads to a massive increase in the amount of racist posts on Chinese social media, and with a tone of raucous mockery and disdain.

We should consider the impact of this film on Chinese attitudes toward Africa and Africans. Based on what I've seen on Weibo, in various articles and on international social media it seems like there is a strong colonialist 'white savior' narrative coming out of this film; glorifying China as swooping in and saving these helpless Africans.

Taken alongside the horrible racism of Chinese audience reactions to the blackface, I don't think looking at it through 'the other lens' gives us a prettier picture.

If the primary category of people who are not offended by this tends to be audiences who are reacting with racist mockery, then a deeper reflection needs to happen.

All that aside, DD isn't working in a vacuum. He has been actively cultivating an international audience and working closely with international brands. He doesn't have the luxury of ignoring Western values if he wants to continue down that path.

And let's not forget that the culture he's so enamoured of is black American culture. If he loves Western hip hop culture so much it would behoove him to better understand and support the people at the root of that culture. The people who literally made it possible for him to find and enjoy that culture.

DD is a good person at heart. I feel that participation in cultural harm is beneath his dignity, and not something he'd consciously choose to do if he had a better understanding of the impacts.

When it comes to culture clash and differences in values it's also important to remember that while everyone is free to make their own choices about what they say and do, so too is everyone else free to make their own choices about how to respond to what that person says and does.

DD is a massive star, so his behavior and choices go far beyond his own cultural environment. It's inevitable that some people are going to have different takes on it all.

And I don't feel like people are telling DD what to do, so much as they're talking about what he needs to do in order to maintain their support. They're drawing out the boundaries of what they deem acceptable as fans. From there everyone has their own choices to make, including DD.

My own position

Here's the thing: I've come under loud, vehement fire from black fans for not taking a strong enough stand on this issue, while some other fans feel I'm being too hard on DD. Now you're saying I should consider the colonialist angle and reflect on whether it's even appropriate for me to think DD has anything to learn.

I can only ever be myself, and speak and act from my own values. I will always think for myself and take my own positions, no matter how unpopular they are and no matter how harshly people attack me for it (and they have).

I am capable of holding multiple conflicting perspectives in my heart and feeling compassion for them all.

I empathize with black people who ***for fuck's sake!!*** have been so thoroughly fucked over on every level and in every possible way by people around them who just don't get it about racism. Who just don't get how deep and broad and far-reaching it is and about how soul-destroying it is to live in a world where this shit is normalized.

I can't even begin to imagine how hard it must be to be a black fan who loves DD and then see him in blackface, and then watch all the fans try to gloss over it as though it doesn't matter.

I empathize with Chinese fans who are in most cases probably not at all ill-intended, whose reactions came honestly even if they were jarring to Western fans, and who have mostly found this story and its telling both exciting and moving.

I empathize with diaspora fans who are having to deal with a whole bunch of sanctimonious lectures about who DD should be and what he should think, say and do.

I empathize with the filmmakers, who after all were probably just trying to give an accurate retelling of something that actually happened in real life.

I empathize with DD, who was likely doing what was requested of him and probably didn't realize that it would turn out to be so controversial or negatively impact so many people.

Anyone who can say with a straight face that they think DD would ever intentionally or knowingly do something that would be this controversial or that would be hurtful to so many of his fans can KMA. That's not the kind of person DD is at all.

Blackface is a huge deal here in the West, and even people in this region are constantly getting it wrong. How can we expect people in regions where it's not traditionally been a big deal to do better than people here who are steeped in awareness*?

*And before anyone says that cultural relativism is such that only people in the West really think blackface is wrong, why not try talking to some of the African fans who've been deeply upset by this?

This is what it is to live in the world. Life is complex, and people are messy. Like I said before; nothing is black and white. Everything is a million shades and hues. As much as people will try to oversimplify the issue and try to intimidate us into taking 'their side', or try to punish and attack us for not doing so, we can only ever live by our own conscience.

No matter how much pressure I come under to condemn one of the individuals or groups I listed above, I will refuse to do so. My conscience tells me to be compassionate and understanding to all of them, and that everyone is always doing their best.

I hope and believe that our differing opinions can coexist. We can disagree and still be friends, as long as we remain open to accepting one another, and as long as we respect each other's right to our own conscience and values.

Merci pour cet échange d'idées intéressant. 💛.

[the-night-that-feeds-if]

Hey everyone, dunno how long this might be, kind of doing a stream of consciousness style ramble about TNTF and me and stuff :)

alright so, tntf is getting a huge rework, this is my first if game ever, the coding is a little overwhelming, i know it’s fairly simple but it’s A LOT.

the reason i’ve been pretty quiet is mostly due to burnout, as some of you know i have health issues, i have crohns disease, i’m also autistic with adhd—something i love about this community is the understanding and acceptance for people/authors like me who may want to write but are just too stuck to be able to do it.

i know everyone is so jazzed for the next update, and i am too, there’s a few changes i’m making in regards to the technical aspects of the story, i’m removing stats, for the MC and for relationships. part of it is… i’m not a numbers person, trying to balance out the stats going up and down is a pain when this is planned to be a pretty damn long story. i also just don’t like it for my story personally, i don’t want you, as the player to feel like you have to game-ify personality or relationships.

this also opens the option for me to write more player responses to situations without having all of that annoying code in my brain~ MORE FLAVOR!

My writing has also vastly improved when it comes to fiction, a lot because i have been practicing so much while i’ve been sick (i’ve been playing with and writing AI chatbots on Janitor.AI, learning how to create a complex and realistic personality, an engaging character and world.) It’s been useful as a stress reliever and as a tool to help me write better, more descriptive etc.

on that note, smut in my game is also a very yes, i feel much more comfortable writing it now… heh.

i’ve also decided that all of my books are going to remain free, tntf was a planned three book series, it may just be one or two HUGE books, we’re going to have to see what i, and twine are capable of. but the story is going to span four countries and two continents of the world, so yeah.

the new rewrite is also going to slow things down considerably, because now we’ll have MC on a ship for four months as the intro, then meeting maddock and spending <insert amount of time here> with him while traveling to that little inn. it also gives me more room to introduce the characters a lot earlier but in their own POVs and not just while they’re with MC. i want the world to feel alive.

my decision to make and keep tntf free is because i want to.

i would not appreciate minors interacting with my content, but i also grew up with the internet, i know that no matter how much prevention we put in, minors are going to access our content regardless if it’s free or not. i just ask that if you are a minor and reading adult fiction, please don’t comment, dm or whatever, this is for your safety in the community as well as, i don’t want to deal with other people’s children on the internet, it’s nothing against any of ya’ll, you’re awesome, children are great but i’m almost 26, i really don’t want to deal with kids in what’s pretty much an adult space (i haven’t really seen books catered to the younger than 18 crowd, but like i’m saying, i’m more interested in forging connections with the adult community here, considering i am one, lmao *bats children away with pool noodles*)

i think that’s it

i might post more stuff but that’s my general direction

also to the asks in my inbox from last year on my birthday and forward… I READ THEM ALL AND APPRECIATE EVERY WELL WISH AND FEEDBACK, GENUINELY. i’m just bad at social media.

[microwavesaferat]

I'm so unexcited for the Christopher Nolan Odyssey Film.

There's so many things I'm just dreading, like as a mythology buff (admittedly, not an expert, just a bit of a special interest), I'm gonna lose it if a film guy starts mansplaining about Homeric hymns to me. Like, keep talking about how the suitors were actually doing what was right for the time and I will kick you in your shriveled nutsack.

I also saw the cast list and nearly shed a tear. They all have fucking iPhone face. I'm sorry, Tom Holland as Telemachus (potentially)???? Like, oh it's so sad your dad is missing and stuff, but did you remember to take your ozempic today? Like all the cast have iPhone face. Unless this is gonna be a weird modern retelling (which also worries me), I won't be able to imagine Zendaya as Athena (potentially) without her whipping out a Google pixel to text Zeus.

I was talking to people and we ended up making our own cast list of some of the major roles.

Cast List

Odysseus - Antonia Banderas

My mother saw him in Paddington 3 and has instructed me to include him as he is, in her words, "fit". In my opinion, someone like Liam Neeson, Mads Mikelson or Michael Fassbender. I just don't want a poorly disguised American accent. Like I get you might not get a Greek actor or even one with a similar accent, but please not a straight American accent or badly done accent.

Penelope - Michelle Yeoh

Nolan is rumoured to have cast Anne Hathaway, which I am also kind of fine with, so I'm not too worried about that. I think Michelle would be great as a cunning, loyal wife to Odysseus and I also think she could channel a great amount of contempt towards the suitors. I never find Anne Hathaway to be convincingly angry in scenes, distraught and afraid, yes, but I think Michelle could really embody that disgust Penelope has.

Athena - Cate Blanchet

I think Athena needs to be played by an older actor. I get the Gods are ageless, but she needs to give the appearance of wisdom and I think Cate Blanchet always looks like she's planning and thinking. The issue with Zendaya is not just that she has iPhone face, but she is too young. Your mind immediately says that she's too young to be that wise. It's a trait commonly associated with older people as it relates to experience, and Zendaya just doesn't look experienced.

Poiseiden - Gerard Butler

Hear me out, I think the Gods (other than Athena) should only appear in voice and not in person. For the scale of things, an actor floating in the air with cgi waves doesn't really look that menacing in the scale of things, especially compared to 50 boats. And I don't want a big cgi water monster thing either. I think the voice should carry on the waves, a shout accompanied by a crash of water, the temper rising as does the waves. I think it's more threatening to hear his voice booming as the boat is rocked, there's a fear of pissing him off more cause, if he gets much louder, you might just capsize. My mother wanted to also say, in a perfect world, it would actually be Billy Connolly, but he hasn't acted in years now due to Parkinson's. The rumour is that Nolan has cast Robert Pattinson and, while he was threatening as the Batman, I don't think it's the right kind of threatening required for the role. If he was doing this as a voice acting role, maybe, we know he has amazing range from the Boy and the Heron.

Zues - Patrick Page

Listen to Little Songbird or Hellfire and tell me he doesn't sound like Thunder. Moving on.

Circe - Nicole Kidman

Circe is a complex character and I think she needs to be portrayed that way. I don't want a young actor who beguiles older Odysseus with her youth. I need Circe to have that wisdom and experience that Penelope also has. I think it could be an interesting idea to even have them played by the same person. This all depends on how close the movie will be to the original epic anyway. My main stipulation is that she needs to remind Odysseus of Penelope.

Calypso - Lupita Nyong'o

The articles I've read actually suggest her as Circe, which I wouldn't mind either, I just wanted someone older for Circe. I think Calypso is also a complex character that must be portrayed as such. Essentially I think Lupita would be able to embody both the woman madly in love with Odysseus and also the Goddess keeping him here for her entertainment. From seeing her in Us, I know she has an amazing range and is able to show the threatening side to Calypso required. It doesn't work if it seems like Odysseus has the upper hand at any point.

Telemachus - Thomas Brodie Sangster

I really struggled here cause a lot of young actors look too modern for a lot of period pieces. It's also important that Telemachus isn't some chiseled, huge guy. I also think, given we would probably check in on him multiple times during the movie, Thomas is good at looking young and old at the same time. Another option would maybe be Joe Locke.

This post is long already so I'm not doing the rest of the characters. I have nothing against the actors Nolan has gone with, I just don't think they fit well. I'm also heavily biased from listening to Epic and Hadestown a lot.

Lmk your suggestions, as always, these are just my thoughts and a lot of them aren't even well thought out.

[learnthebreakdown]

I made this post about how moved I am yr addressed racism with Felice/Simon. It prompted me ponder issues about this fandom (starting how the nonwhite characters are treated in this fandom, and if people would sympathize with Wille as much if he was black instead of white, for example. But then it spiraled into other things as well) I've never had the courage to post about before, but yr gave me courage lmao (putting a disclaimer that I don't hate any of the characters as people...actually I adore most of them...except August). This season showed how ingrained racism is, it exists in so many "invisible" ways, where people can act as if it's not real since it makes them uncomfortable to deal with their own hidden biases, or worse, because they think their biases are actually justified. I've seen some mentions about how the audience of this show reflects the exact prejudices the show claims to criticize.

There's a notable pattern where even minor rich kid characters receive disproportionate sympathy/recognition and others face unwarranted criticism, reflecting societal biases and how we are conditioned. While tumblr has been better this season especially with time, tumblr (and esp other social media) sites often have much more sympathy for Wille over Simon, for example. Simon across sites gets a lot of undue downright vile comments from the fandom, or is just disregarded more. Part of this could be because Wille is the main character, and Simon's perspective was not shown super well in season 2, but Simon/Omar often get a lot of comments that aren't unsimilar to the racist and vile comments we saw Simon get in the show. It made me wonder- if Wille had not been white, if he had been black, would people still have found as much sympathy for him during his angry outbursts? How strange that many people seem to find sympathy for Wille and even August, but not for Simon, even though if we are being realistic...Simon is an equally complex character that has not done many bad things? How interesting that people barely discuss Felice's storyline, but there are people that gag over the rich white kids, stederika and henry/walter (especially after Felice's storyline this season, and when we have Rosh as a canon sapphic lower class girl). How wild that the girls' storylines- Felice and Sara's- are disregarded? People often act like Wille and Simon have gotten the same amount of hate, but if you've been in this fandom long enough and seen the overall situation, I think people know that Wille is favored over Simon overall, and the hate/disregard they get is not equivalent, especially considering Simon is the second lead.

I'm not saying all of this is due to prejudice, or that everyone who has ever done these things is an awful person, it's more just an observation that if we are honest with ourselves, hidden biases certainly play a role in ALL of our thoughts/behaviors. Even for those who may not actively engage in it, do we enable it? And with a show like Young Royals that is attempting to (not always succeeding, but an attempt was made this season) to critique these social structures of racism and classism, wouldn't it be nice if, as we go into this final episode, we look inwards and see what biases we may carry that affect our perception of this show, and more importantly, real life? Life imitates art, after all.

[likeorpheus]

Hello everyone ! I wanted to put out a quick statement regarding the unfortunate and complex issues that have been occurring in the RPC and on my dash the last several days. I want to start off by addressing anon hate and anon messaging. I do not respect it. That includes continuous dialogue on anon. I think it's better and healthier to communicate privately with people. But, I also want to express that while I have that belief and stand by it I now will no longer be responding to or allowing myself to get swept into drama or the histories of other peoples problems. That means not dictating or making opinions on how others stir up shit. I've decided to remove myself from it all completely.

Other people's histories and dramas are not mine to own. I have made careful choices with my blog and how I operate. And to be frank, there have been many instances now where comments, messages (anon or not), and the like have been misconstrued, purposely chopped up, and at times warped or taken completely out of context. I think when problems arise everyone is quick to emotion. I am also guilty of that. Having been on hiatus from the RPC for a couple of years and making a return only recently in the past few months, I've lost sight of my mission to steer clear of drama whether it be liking posts or adding comments to post.

It is no longer my place.

While I stand by my opinions and beliefs (and of course I am still open to private conversations on ideas because we all continue to grow), I will not stand for callout posts, witch-hunting, and vilifying. That's to all parties. That's to all participants. It's just not who I am. It's not what I agree with. I believe in communication and kindness and also taking a big whopping step back to look at the bigger picture. I recommend those that are hurt, emotional, or dealing with their emotions to take a huge step back and please think before we speak or type or message.

I apologize to anyone who has had to deal with the controversies going on. I know our dash's are full of negativity and it is only fueled by proxy by every like, comment, and every bit of participation that it receives. I know it's a lot. And that is another reason I will no longer participate in anyone else's wars because It's not my place. And it's unfair to a lot of my very kind and sensitive mutuals who come here just to have fun and to write about their characters.

So with all due respect, I will only be roleplaying here and investing in fun and friendly interactions. I will only be promoting positivity. And I will only be investing time with those who are interested in the same mission.

Much love,

Lore

[pluckyredhead]

ur post abt the green lantern’s political leanings was so interesting!! can you do one for the bat family? (but only if u wanna!!)

Honestly, I can't, because their politics are so incoherent.

Like, take Bruce. (And again, like with the Lanterns, I'm talking about canon here, not how I wish things were.) On the one hand, you would imagine he's pretty progressive, right? He's almost certainly a single issue voter and that single issue is gun control. He believes in rehabilitating criminals and in fact a lot of Wayne Enterprises hires are formerly incarcerated people. He is an active philanthropist who pours money into schools, orphanages, hospitals, public spaces, and the arts. These are all leftist values!

And yet the modern Batman is also a completely unrestrained violent anarchic-libertarian power fantasy. Bruce has invented his own law, which he enacts and enforces completely arbitrarily, however he feels like doing so. He obeys the laws he wants to obey and ignores the ones he doesn't care about, while insisting he is law-abiding. He tortures people literally constantly and considers it righteous. He uses the profits from his publicly traded company to become a one-man military industrial complex. (The emissions from the fucking Batmobile alone...!) He illegally surveils the entire city and sometimes the entire planet (Brother Eye, anyone?) because he has decided that his moral authority overrides literally anyone's right to privacy, anywhere. He allows his defeated foes to be locked up indefinitely regardless of their mental state in an institution that would make any qualified mental health professional run screaming in the opposite direction. He's sexist. All of these things sit on the right of the political spectrum, but imagine me pointing to the right like Charlie from It's Always Sunny pointing to his murder board.

And none of the Batfamily is any better. Some of them are honestly worse in certain aspects. Dick was a cop. Jason loves guns. Babs and Tim are even more in love with surveillance than Bruce is. Remember when Tim wanted to replace the police with, like, a Bat-army??? BECAUSE I DO.

It's not really "their fault," as much as anything can be a fictional character's fault. It's the result of being written by writers who are, for the most part, consciously trying to write the Bats as good Samaritans, but are also living in a world where we have had our brains warped by all of our blockbusters being funded by the US military, in a medium where badassery is prized above everything else, and so all this really problematic shit spills out onto the comics page without being questioned. It's also kind of a boiling frog situation: i.e. Batman has always had a cool car, so as he got tougher and tougher, of course that car would eventually become a tank, and no one stopped to go "Wait, what the fuck? What the fuck? How is this billionaire driving a tank around helping anyone???" I guess god bless Zack Snyder for inadvertently highlighting how fucking stupid and counterproductive a Batman taken to his worst extremes is.

To be clear, I don't think this is what most writers are trying to do with Batman (some of them are, but fuck those guys). But it's what happens when all you care about is rule of cool, and the more I think about it the more I'm like...shit, maybe Alan Moore was right and superheroes are just stupid.

Anyway in conclusion, comic book writers should consider the ramifications of what they're writing occasionally. But Bruce Wayne probably still votes blue, at least.

[yourtoradorasextendedwarranty]

Your countries are being invaded and your too blinded by accusations of "Bigotry" and "Racism" to actually do anything about it. What am I talking about?

-

Let me explain something to the left and any moderate that might have an issue with my framing. These are not people seeking asylum because of persecution. These are economic migrants trying to extract from our countries while their first act in flooding here is economic instability and eventual collapse. It has nothing to do with cultural dislike, or racism of any kind.

Fact is most people in most places hate how their governments are run. The US Gov I can actually weigh in on, because we have sent billions in tax dollars to Ukraine and foreign interests. We have spent millions if not billions on homelessness yet still have a huge homeless issue in places that claim to care about it more than anywhere else.

But what's the issue. 80%-90% of the people coming are military age men. In some cases that percentage is north of 98%. Meaning there are almost never any women or children coming here. And at least in the US they are coming here with their fist act as breaking US law. I live in Texas. This state is heavily affected by illegal immigration. Hard part is, most people don't tend to see the effects until it's too late. The more people that flood your country, the worse the economy in your country will be. Slow trickle can be handled. What we are experiencing can't be. Why?

So not to be the "THER TAKN OUR JUBS", but in reality they are. They will work for lower wages. They don't care if they get healthcare. And the employer does not have to care about the red tape hiring them. They get the profit with almost none of the other complexities that come from hiring a legal citizen. What's more, we barely have enough jobs for the people that live here and yet we flood millions in through the southern border every single year. Functionally, this is an issue. We might be a melting pot, but what happens when our cultures are deleted outright because the flood gets too big?

And this is a real risk. Cultural decimation. These people don't care about their own countries. What makes you think they care about yours? They will extract. Destroy. And they will move on. They don't realize they are doing it have the time but consider the fact that the UN has not helped in this at all. Consider the fact that the WEF has not at all helped in this. The US can hold the population of the world sure, but fact of the matter is that should not be our goal. There are too many cultures, and there are too many offset forms of belief.

We can barely keep our own country working properly and inflation is the worst it's been in almost ever. We can't take care of our own and yet the bleeding heart class in the US just expects us to take in everyone from everywhere at all times. Economically we can't handle this. Socially and culturally we can't handle this. People need to go to countries through the proper sources. They need to do it legally. But what's more, these countries are losing their working age and military age men. IN THE THOUSANDS and MILLIONS. What is the result to the country these people are leaving? What of the women and children left behind?

No one wants to have this conversation because they are scared of being called a xenophobe or a racist. But having love for your country and wanting it to continue to function, and not have your culture crushed under the weight of actual invaders, isn't either of those things. And before you go, "Oh well how dare you call them invaders ~" here is the definition for you.

Look at the second listing. I understand the idea behind wanting others to be happy. I understand the idea behind wanting people from other places to not suffer. But these people are leaving their countries, rather than fighting for them. They have abandoned their mothers, daughters, wives, sisters, aunts, and grandmothers in most cases.

Most of you need to face the reality that the real world is not a fair place. But if you want your country to thrive and survive there needs to be a process in which it functions. These people are ignoring that entire process. If Italy can't deport the people that just arrived on that ship, outnumbering the entire population of the island they just landed on, there will be consequences. And they will not be good. The language will start to shift. The religions in the area will change. The entire culture will change. Then at some point, they will decide, "This is our land now, and it's always been ours". It's objectively conquest by sheer numbers. And while they might not individually have any ill intent. That won't matter in the long term.

This isn't a conspiracy. It's not bigotry. Open a history book and read. I'm pro immigration. 100% I'm for it. But how long are the lines for the people coming here legally? How many people have been denied citizenship over BS reasons? And not only are we allowing illegals in at a more than alarming rate (specifically in the US), but we are spending tax dollars on giving them roofs over their heads, and handouts, and in some places they are even getting monthly allowances.

Explain to me how we are doing this for people with no respect for the country, or it's laws, and yet you can't solve homelessness? You can't make a VA that actually functions properly? You can't get out out of inflation? So to the people cheering on illegal immigration, you are voting for your own demise. And every penny spent on them, is not one spent on a legal immigrant. Every penny spent on them is not spend helping the homeless. Every penny spent on them is not spent on healthcare.

This might be a controversial post and some people may even block, mute or unfollow me for it and that's fine. But history speaks for itself. And every country that has dealt with this for too long has collapsed over time. Pretty much every single time.

You should be concerned. Before you end up as the one who's displaced, and is fleeing.

[tangents-within-tangents]

Local Ace overthinks headcanon and shipping culture

Happy ace week, my friends! Imma be posting some aspec hc's this week so I felt the need to overexplain my personal stance on orientation headcanons and such

To start, as with any and all fandom things: to each their own. People can do whatever they want, and (for the most part) I can choose what I do or don't engage with. I know that hc and shipping and stuff is mostly for fun, or for seeking/creating representation, no hate to anyone who does it and enjoys it.

But also sometimes things can be problematic and I can still be bothered by those things. Even things that are 'just for fun' or 'not for you' can impact and reflect our views and behaviors, so it's still worth speaking about.

Aro/ace-spec identities are really diverse and complex, and we're really underrepresented as is. We have historically and chronically been plagued by problematic misconceptions and tropes, both in canon representation (or lack thereof) and fanon mindsets. Some of the main issues to be aware of with this topic specifically:

The majority of (sometimes unintentional) representation being non-human characters (like aliens and robots) implying that sex/romance = humanity and/or a fulfilling life. (Here's some video essays that touch on this: X X)

Related stereotype issues like racist or ableist de-sexualization and infantilization of certain groups like Asian men, physically disabled people, or people with autism. (It's an intersectionality thing bc yes those people can be aro/ace as well but it's still complicated) (more video essays! X X)

Common erasure of historically aspec characters in favor of allo plotlines bc that's "more interesting/realistic". Or ignoring canonically established aspec characters in favor of allo shipping (often excused by the fact that some aro/ace people do have sex/relationships, which is true but the complexities and nuances are often ignored and there's lots of double standards) (Here's some posts that touch on this: X X X)

Amatonormativity's over emphasis on sex/romance as a fundamental and necessary part of life, which is often reflected in how media and shipping culture are generally allo-centric, and it can just get pretty pervasive at times (note: we aren't a monolith obv, some aro/ace people enjoy it and participate too, but others don't and it is hard to avoid) X X

So while I know there's lots of reasons for shipping and headcanoning, and for the most part there's nothing wrong with it and people aren't trying to do these things, there are still issues that exist. Honestly seeing posts talking about these things has been really validating for me bc it let me know like yeah this is a problem other's have noticed too and I don't have to just accept it.

So with respect and awareness of nuance, ship and headcanon however you want. The rest of this post is about my own personal preferences and such. I'm not necessarily trying to persuade anyone here, I just have some thoughts I want to put into words:

For me personally, when it comes to characters' sexualities/gender identities/etc, I prefer just to stick to whatever is established in canon (or in confirmed intentional coding), and, if nothing is specified, headcanons that are based in canon evidence (more like theories I guess, as opposed to reimaginings or straight-up projection that knowingly ignores parts of canon. Which is fine and fun if that's what you like but to me there is a distinction). This is because:

1: While fandom culture is all about freedom and creativity, I do think it's important in this day and age to recognize actual canon representation and strive towards that because that is what will reach more people and have impact (and personally I think that writers' intentions should actually be given more thought/value)

2: I think that shipping/hc/fandom culture in general tends to perpetuate amatonormativity (specifically in devaluing/erasing friendship and non-romantic love), and sometimes leads to harmful parasocial queer speculation in real life (though again, I know that's not the intention but it's still a thing).

3: Generally, unless it’s explored as a part of a reimagined fic or something, just saying a random character is aspec (or whatever identity) when they did not present that way at all in the actual media doesn't really help me feel seen.

For example, I've seen a lot of people headcanon Mabel Pines as aromantic and that really threw me off bc in the show she is obsessed with romance. Like if other's see themselves in her that is great I won't stop you (the idea is that her crushes are comphet, which is not something I personally struggled with, and maybe I could see it if I rewatched the show with that in mind) but when I watched the show, I specifically did not connect with or relate to Mabel BECAUSE of my ace identity (yeah this post was mainly about her lol) so it just doesn't do much for me to claim her as aspec, in fact it feels counterproductive.

Sometimes it can feel really tacked on too, like 'well it's not confirmed that this character has sex so they could be ace', or 'some ace people do have sex so they can still be ace.' And like sure yes they could be but often it's like a kid show or something so none of the characters' sex lives are relevant or explicitly confirmed. Just bc they aren't not ace doesn't mean that they are, or that saying they are is meaningful if the character/story doesn't actually speak to anything related to the ace identity or experience. (This can happen with canon characters too, like Sponge Bob being asexual means absolutely nothing to me, especially since I get the sense that the creator said that more in a 'sea sponges reproduce asexually' type of way :/ )

So basically, in terms of representation I prefer the theory/interpretation type of headcanons that have supporting evidence of some kind, because that evidence is what makes me see myself in a character and feel represented in some way by them. So that's the type of headcanons I'll be posting, and that's why I'll be discussing evidence and explanations, even though I know plenty of people have fun and find value in just claiming identities without any of that.

Another thing I feel the need to overexplain is kinda the reverse of that. I think it's important to recognize that a character does not have to be a certain identity for you to see yourself in them. Like that sense of relatability and representation is still valid even if they aren't, and I think it's good to leave space for that ambiguity.

This is coming mostly from the fact that I have always valued platonic relationships (between any and all genders) long before I ever knew I was ace. I've always wished that was better normalized and represented in media and real life. I think that is just as important as queer representation, and sometimes they can counteract each other.

Like yes Min and Ryan could be gay and if that's what the writers were going for despite restrictions, or if people see themselves in that, great! But I would also love for this story to give a close friendship this much narrative value for once.

Merida does not HAVE to be aro/ace (or lesbian) to not want to be forced into marriage with a stranger at the age of 16 (in fact she specifically says "I'm not ready" and "not yet"). But regardless, aspects of her story are still really relatable to us and applicable to living in amatonormative society.

Mako and/or Raleigh do not NEED to be aspec for this glorious refreshing no-romo moment to happen (nor does one need to be aspec to appreciate it)

And maybe claiming them as aro/ace could even undercut the power of this platonic bond (like saying the only way they could not be interested in each other is if they are not interested in anyone (same if you said they are gay, as if that's the only possible way for a man and woman not to be attracted to each other)). But it's still a moment lots of us aspecs love because platonic relationships AND aro/ace characters do go hand in hand and BOTH are so rarely portrayed in media.

So these ideas also play into my preferences, and I want to acknowledge that my headcanons don't have to be definitive (which like I know that is normal amongst fandom culture anyway) but are more about pointing out aspects we can see ourselves in and relate to, especially in a media landscape that is so lacking in representation and understanding of our identities.

[ryssabrin]

i have spent the better part of the last couple nights arguing in circles with an anti-dav solas person on reddit (i know, i regret), and what i hadn't realized is that so many of the people disappointed with solas's arc in dav imagine that in the hypothetical joplin version of da4, solas's elven faction would have not only known 100% what solas's ultimate plans were and what the consequences would be, but they also would have whole-heartedly agreed with it. the game would have vindicated and validated him and made him right all along and he would have been this noble hero doing the wrong thing for the right reasons and we'd all see it by the end and tear down the veil.

now. i understand why a lot of them think that would have been a better story than we got in veilguard and i can also see why they thought the story was going that direction. i was even convinced of it! i still think tearing down the veil would have been the more narratively interesting choice for the dragon age universe as a whole, (even if i see how it makes better sense for solas's arc for him to change his mind). but from what we got in dav, and with what bioware has since released about the concepts for joplin, i think we all just have to admit now that that was never going to be the plan.

the way i see it, it's more likely he was manipulating and misleading the elven faction and part of our job as rook would have been trying to persuade them away from solas. he would have gotten their support by promising to restore what was lost and liberate elves everywhere, while not telling them they probably won't even survive to see it. when we finally reach him, it would have been something to call him out on, how callously he used the plight of the elves to get what he wanted while not being honest with them. i think that's why that whole aspect of his motivations wasn't really present in dav, as dav is essentially just act 3 of joplin. we would have already tackled that issue by then.

now it is of course disappointing that we didn't get to see that version of the story. it would have been neat! but what we also know from the artbook concepts is they never planned on having the veil come down. at least not permanently. we still would have been trying to find a way to convince solas to stand down. so whatever his motivations were, they wouldn't have been "right," narratively speaking.

and what also frustrates me about the criticisms i see about the loss of this story beat is that it makes solas's motivations "less complex." making it all about mythal instead of this trolley problem angle of dooming the world to save the elves makes his writing "less clever." that i can't agree with at all! solas's baggage around mythal is incredibly complex all on its own.

additionally, it's ironic that the version of his arc they imagine just has solas be right the whole time and never question himself apparently, while dav solas (and dai solas) knows his motivations aren't all noble and struggles with it over and over again. he's more morally questionable. he's manipulative and untrustworthy except when he's not. he saved the world from the blight! and he's a war criminal guilty of basically genocide. he murders your mentor and uses blood magic to make you forget about it but some of the best people you meet think there's still good in him and he deserves a chance at redemption. just because it's emotionally complex instead of politically complex doesn't mean it's less complex. and the kicker is that the much maligned (by solas fans) companion writing reflects that complexity, because they all mirror solas. you needed seven whole characters to fully convey how fucked up this guy is. eight if you count rook.

so yeah whatever else you can say about dav, i don't think it's true that it's soooo far removed from what bioware originally planned for solas's story. but there's no way to actually convince anyone who spent ten years imagining this perfect version of it in their heads that turns their blorbo into the bestest guy that everyone would toootally agree with ever of that.

[hazelnut-u-out]

Hi! Me again! So, why exactly do you like Rick? Im not insulting you at all! He's my absolute favorite character, but it's kinda hard to believe you love him when looking at some of your posts, not that I blame you though because I'm the same way! I love him because of his character development, he's funny, interesting and fun to watch and he's super complex ! Sorry for the kinda long ask! Love your posts!

To be honest, I have a hard time finding sympathy for Rick. A lot of abusive people tend to cite their own trauma as excuses rather than reasons and, while I wouldn’t argue that Rick himself explicitly does so, I do think he sometimes views his own experiences through that lens. That can make it a lot more difficult for me to find him sympathetic. I have a lot of empathy for Rick— as in, I can feel his pain, anger, frustration, etc. At the same time, I have a hard time understanding how that makes his actions in the present (specifically in his relationship with Morty) acceptable. I cannot separate Rick from his actions because, to reference Bojack Horseman, people are what they do, intentions be damned.

I mentioned this somewhere a while back (I think in the tags of a post I reblogged), but I think you can have genuine personal criticisms of a character and still love that character. In fact, I would go as far as to say that my issues with Rick are what make me love him, because a character’s flaws are part of what their character represents in context.

I love Rick because he’s given me something to root for. Morty deserves a good grandpa. So does Summer. Beth, who also isn’t immune to my criticism, deserves a good dad. From Season 1, you can see the good in him just begging to peek out from behind the facade, trauma, and bullshit. Furthermore, in context, he shows us that taking accountability might not always mean you’re entitled to forgiveness, but that a lack of forgiveness doesn’t mean trying and moving forward is pointless, as well.

None of us are perfect, and Rick isn’t either. Like you said, he’s complex, funny, dynamic, etc. People are not without nuance. None of us are, whether we like it or not. No one is entirely good or entirely bad. We’re all mixed bags of trail mix. We’ve all got our raisins. (Unless you like raisins. Then my joke doesn’t land.) The point of working on yourself isn’t to be perfect, or even to be forgiven. It’s just to work on yourself— to try; to fail; to keep trying.

I don’t think I’d like Rick as a person if I met him in real life, to be honest with you, but I love him as a piece of art. That’s what I think characters are! Art can be grotesque, appalling, fucked up, and offensive, especially when there’s a message behind that.

Characters can’t exist in a vacuum. I mean, would we even be interested in a show where Rick realized he was an asshole in the pilot and was The Perfect Family Man for 10 seasons without anything challenging that? Probably not.

Also, he’s just a silly guy, and I like ‘em silly.

[bitkahuna]

“So … Malfoy has a boyfriend?” Harry asked in a manner that wasn’t as casual as he had hoped while he put his wand away. But he hasn’t been able to stop thinking about her mentioning his boyfriend ever since she said it.

Pansy raised an eyebrow. “Maybe. Maybe not.”

Harry nodded, remembering he was talking to a Slytherin. “Are you going to the afterparty?”

She blinked. “There’s an afterparty?”

“Beauxbatons tradition, their champion always throws an afterparty and the staff pretends not to know. The only issue is that you have to be invited by a champion, and we’re only allowed to invite a certain number of people.”

An exclusive party. Pansy’s interest visibly piqued. “Draco’s relationship status is important information to you, then?”

He swallowed, avoiding the question. “Do you want to be invited, or not?”

“They aren’t dating.” She began, selling out her best friend. “Draco wants to, but frankly, I think LaVeau is a dick.”

“LaVeau?”

“Ovide Laveau. Beauxbatons student. Don’t tell Draco.”

“This never happened.”

———

“Why were you interested in LaVeau?”

Harry didn’t answer and that was all Blaise needed to know.

“You’re pathetic. You and Malfoy, both.” He shook his head. “All this as if we all don’t know we’re only moments away from a war where you’re on opposing sides.”

Harry raised an eyebrow. “He talks about me?”

“Why are you dancing with me?”

He repeated his earlier answer. “Distraction.”

“That’s why LaVeau‘s around.”

———

Harry was figuring out a puzzle, just as he did with all the people he watched on Knockturn Alley. Blaise was just like the rest of them. “You don’t care about the war, do you?”

“I do.”

“Not like the others do. You just want to survive and come out on top.” Harry squinted slightly. “They talk about you, you know. Well, not you. But about your mum. How many times has she been made the widow of a rich man?”

A surprised squeak left Harry as he was dipped once more, even lower this time, his arm around Blaise’s shoulders tightening in its grip.

“I don’t like repeating myself, Potter.” He said before pulling Harry upright again and spinning him. “I will drop you.”

“Frankly, if she is murdering them, I commend her. Otherwise, very tragic and I apologize. But you don’t seem very upset by it.” He had to take a moment to focus on the dance as Blaise intentionally made it more complex. “Point being, you don’t trust people and you just want to survive. So now, you’re good friends with a Malfoy to make sure one side of the playing field is secured. But in the last few minutes, I’m willing to bet you’ve realized you and your mother have no protections for if the Death Eaters fail. If they do, you risk both Azkaban or a self-imposed exile. You don’t want to uproot you and your mother’s lives, so now, you see me for the golden opportunity I am.”

He was dipped for a third time, much lower, and he quickly shot his leg up to wrap around Blaise’s waist, locking his leg and the arm around Blaise’s shoulders so he would stay stuck to the other boy even if he tried to drop him.

No one else existed in that moment. It was just the two of them. Even the music was hardly a thought in either of their minds as they stayed there, locked in place, eyes battling through an unexpected intimacy.

Blaise had to make a choice as his plans were laid bare before him. In that suspended moment, the tension between Harry and Blaise was palpable, their breaths intertwining as they remained in their compromising position.

“I see you’re not just a pretty face.”

———