#Analyzing media does take some skills

[laughterbynight]

Watching people in the tags yell at other fans for getting characters wrong while aggressively citing their own head canons as gospel lul

[sirfrogsworth]

Do you remember that Aussie sword guy who used to talk about medieval weapons?

And, like, he seemed pretty good at talking about swords and shit. He seemed to have a good grasp of the history and tactics. He'd analyze movie weapons for their realism and that was fun. He did demonstrations with real weapons. For a time I really looked forward to his videos popping up in my feed.

He seemed like a harmless sword-fighting aficionado.

But then I guess he wanted to spread his wings. So he started down an anti-woke path. Giving questionable critiques about media and feminism. He started defending boob armor by showing historical examples even though most of those were decorative and not battle ready like in the games.

Then he admitted he was a fan of The Daily Wire.

And that was disappointing.

I missed him nerding out about swords, ya know?

Well, Shad decided to spread his wings again.

He has become...

*bad French accent* An artiste.

You see, he types words into a little box. Then a little robot does a google image search and steals a bunch of art. Then that robot reconfigures that art to be nearly indistinguishable from the source material. Well... aside from the occasional artist watermark.

Whoops!

A.I. art is very difficult. Sometimes when you type words into the box you get a woman with 5 lopsided anime tiddies. Or 20 fingers on one hand. It takes time and effort and experience to type in the perfect magic words so that you get something close to your imagination that doesn't belong in some sort of Lovecraftian horror ripoff.

For example, check out this cool "pirate hat" I asked A.I. to place on my head.

Clearly, I am not skilled enough at typing words into a box to get a proper pirate hat.

It. Is. Not. Easy.

I heard someone say you have to type things in a box for 10,000 hours before you start getting truly masterful generations.

I mean, you can't type "marathon runners" and expect that to actually work.

THIS REQUIRES SKILL, PEOPLE.

And I am a lowly amateur. I can only dream of becoming the box-typist Shad has honed himself into.

The thing is... Shad is very upset.

He is upset that you don't like his "art" and he is ready to die on this hill.

So... before he croaks on a mound of bullshit, he has something to show you. He has created something truly brilliant and when you see it, he is convinced you will validate his considerable efforts.

Before I show you his "Not. Easy." artistic masterpiece I'd like you to sit with what he has said for a second.

Ruminate in the verbiage.

Process the ideas and points of view presented.

Digest his plea for you to accept and love his hard won battle after typing words into a box to manifest his imaginings.

.

.

.

.

.

.

.

.

Have you sat?

Ruminated?

Processed?

Digested?

Okay, here it is...

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[aphroditelovesu]

Yandere Spencer Reid Headcanons (General)

"I promise to keep you safe." — Spencer Reid.

❝ 🕵 — lady l: It's been a while since I wrote a general hc, so I don't know if it's good, but I did my best! I hope you like it and forgive me for any mistakes. 🤎

❝tw: obsessive and possessive behavior, stalking, invasion of privacy, breaking the law (?) and very implicit murder.

❝🕵pairing: yandere!spencer reid x gender neutral!reader.

Spencer Reid is a genius, in every sense of the word. He is not only intelligent but a true genius, someone who hunts criminals with pure skill, and you, his obsession, his darling, even if you are not a criminal, will be hunted by him. He will have you in every meaning because you belong to him, just as he belongs to you.

He is known for his brilliant mind and his exceptional ability to analyze complex patterns. His eidetic memory allows him to retain vast amounts of information, making him an invaluable asset to the FBI team. Too bad for his darling, however, because he will use his skills and resources to get you at the end of it all.

Spencer is fully aware that his thoughts about you are disturbing, to say the least. But is it so wrong to love someone? He believes not. Maybe the graphic and explicit violence he thinks when someone hurts you isn't exactly healthy but he doesn't care as much as he should.

You are like an enigma that he wants more than anything to decipher, to unravel all your mysteries. If he could, Spencer would read your mind to know all of your thoughts, even the most intimate ones. His insatiable curiosity would drive him to explore every corner of your mind, seeking to understand every thought, every emotion and every facet of your personality.

Spencer is driven by his desire for curiosity and his obsession with you. He values ​​his work at the FBI and his friends but he values ​​you even more. You became an extra motivation for what he does; hunt down criminals to keep the world safe so you can live in it.

He would be disturbingly uncomfortable at the thought of losing you, and his analytical mind could lead him to investigate and monitor your activities closely, perhaps even crossing some ethical lines in the process. Spencer can and probably will become a meticulous and highly effective stalker, watching your social media, searching anyone who was/is close to you.

Spencer doesn't know the word "privacy" when it comes to you, he will look up everything he can about you. He can't bear the thought of not knowing everything about you, he hates the thought of you keeping some kind of secret from him. His willingness to cross boundaries and violate other people's privacy shows how far he is willing to go to maintain his control over you.

He would love to be able to read your mind, just to know what you're thinking and if you're thinking about him because Spencer is always thinking about you. His thoughts are always about you, about how he can make you happy, how he can make the world a better place for you to live. Everything is about you and always will be.

Spencer is extremely possessive of you and it becomes evident very quickly. He is not the master of hiding his feelings for you, including the most dangerous ones. He will stare with hatred evident in his eyes and make strange expressions when someone gets too close to you.

He doesn't want to be controlling and he isn't, but Spencer gets jealous very quickly due to the fact that he's insecure about your love for him. He won't kill someone out of jealousy, he's from the FBI and knows better than to do that, but he can become more aggressive, and bitter if you don't show that you just care about him.

Along with his possessiveness comes absolute overprotection. Spencer is suffocating and ruthless when it comes to protecting you. He will go to great lengths to take care of you, being your own armed escort or having the FBI protect you. When it comes to your safety, he doesn't mess around.

He wouldn't be the type to kidnap you that quickly, no, it would take a lot of motivation for him to take you like that. Maybe you kept rejecting him or you were in a situation where you could have died, in both situations, Spencer would know that he would have to increase your protection. And the best way would be for you to move in with him, without your prior consent however.

Spencer Reid isn't the worst yandere to have, he's just very overprotective and a determined stalker. He will never hurt you, not on purpose at least, and he will make sure you are always well taken care of. He can become very smothering when he is jealous but he means well. Just don't hide anything from him and everything will be fine because Spencer can't stand the idea of ​​not knowing everything about you.

[grey-spark]

Analyzing the WIND BREAKER Trio

TW: BIG SPOILERS FOR THE MANGA, light mention of abuse.

It’s high time I talk about the main characters of Wind Breaker, who are surprisingly unconventional. They don’t seem to fit neatly into any of the old characters' trifectas we see across media. None of them are girls, for starters, and they don't even seem to fit the classic Freudian trifecta of Id, Ego, and Super Ego. No, in this analysis, I want to talk about their unusual dynamic and how they depend on each other for what they lack in themselves. These traits being:

Sakura’s lack of social skills

Nirei’s lack of strength.

Suo’s lack of self-belief

Sakura Lacks Social Skills

The only evidence I have to cite is the entire manga. He’s no mystery. Sakura has been abused and neglected from a young age both by his parents and his old town. And by the start of the manga, he’s never been shown kindness before. And what this has created is a form of independence from society. Sakura is someone who only deigns society. Something Yamato Endo later adores about him, something Endo has only seen in one other person. Sakura doesn’t need other people, and will never bend himself to other’s will. He said so as much in his fight with Togame.

However, this virtue comes at the price of having ANY sort of common sense. He doesn’t know how to make friends. He doesn’t know how to operate a phone. It’s almost like he’s been living on a deserted island his whole life. He has no interests, no furniture.

So he needs a guide. That’s Nirei. He lets Nirei hang around him like a little remora fish because he knows that Nirei will point him in the right direction. He’s not so much a “best friend” rather he’s better described as a “foremost friend” who’s made it his personal mission to guide Sakura to the top. 

He displays a greater comfort around Nirei than he does with Suo. To Sakura, Suo is a rival and begrudging mentor to who he derives wisdom from. Now, he’s not a complete rival and foil in the way that Sugishita is, but from the moment, he sees Suo fight, he’s already dreaming of ways to have a real fight with him, but he respects him enough to plan the bridge defense while preparing for the war.

In this sense, Sakura takes motherly doting support from Nirei and fatherly challenging support from Suo. Though he would never ever admit to that. Its interesting how clinically he views both of his friends. He treats them more like social workers who’ve been assigned to him than buddies to hang out with.

Nirei Lacks Strength

At the start of the series, Nirei lacks physical and mental strength. He literally doesn’t know how to fight at all and constantly hides behind his friends. And until his breaking point with KEEL, he basically uses them as bodyguards. After KEEL, Nirei realizes that simply advising and studying others is not enough and makes an effort to at least be able to defend himself and become strong.

And to his credit he does this. By the end of the war arc. He has attained complete mental strength. When Nirei throws that punch on the bridge he has everything. He becomes a complete hero. Lacking only muscle and training. Mitsuki knows this. Suo knows this. All of them know it and are more than willing to help him grow into what will probably one day be Hiragi’s replacement. 

Suo Lacks Self-Belief

(in his own moral judgment.)

By self-belief, I don’t mean that in a confidence sense, but rather a worthiness sense. Suo is the most perplexing of the three because we know so little about him at the moment. And that’s by design, he wears a mask of impenetrable mystique.

But we can make some observations of his values even if we don’t know the details yet of how he came to them. So lets start by examining what Suo admires about his friends: Sakura’s moral conviction and Nirei’s purity. 

Suo adores Nirei’s purity and innocence, which he finds infinitely more valuable than strength. Nirei doesn’t have a bad bone in this body. The concept of doing something evil has never once crossed his mind. Even after years of being tormented by bullies, one would expect him to go on a revenge arc. But NOPE. He doesn’t even consider it. He’s more concerned about his sick friend or helping an old man he barely knows find peace. As far as Suo is concerned, Nirei is the perfect one and has the most potential of the three because he's already mastered what Sakura and himself lack. Morality and social grace are harder to acquire than muscle. 

In Sakura, Suo sees a champion who can carry his moral convictions like a banner. He says as much before challenging Minoru to a “fight”. 

Time and time again, he reiterates that Sakura is bound to surpass him. But he never means it in reference to combat. In fact, by that point, he hasn’t even seen Sakura have a real fight. And later on, he says it again, when Sakura is able to get a handle on his rage, whereas Suo wants to beat an opponent while he is down. The guy who hurt someone they both deeply cared about.

What he sees in Sakura is a moral conviction that he lacks in himself. At the time I am writing this we know shockingly little about Suo. About his backstory, his master, his Chinese fashion taste, his eye. And neither do his allies. But have clues. We see him refuse to eat with the others, claiming to be on a diet. It was disrespectful of him to not eat anything at that leadership summit, so he had to have a bigger reason. Consider the other character who refused to eat in the story, it becomes more obvious he may have a guilt complex.

What this points to is that Suo has a history. He’s done bad things in the past and now feels guilty and undeserving. His solution is to not find moral clarity in himself but to surround himself with those who can. It's an issue he's going to have to deal with at some point.

What to do with these three?

Looking back, you begin to notice that the nature of their friendship starts out as very transactional. Sakura needs social guides and barely considers them friends at all. Nirei uses his friends as protection and role-models to get stronger. And Suo uses his friends as a way to outsource his moral compass.

But it didn’t stay that way. Sakura starts fighting with others in mind and even plays games with Nirei; who becomes a real fighter just like the others with the help of Suo, who trusts himself enough to become a teacher after being inspired by Sakura. They inspire each other and grow. That’s normal for Shonen. But this strange dynamic is something I find peculiar, breaking the mold of what i’d expect from a heroic trio. It's all very refreshing.

[veronika-tserber]

3rd House Ruler Through the Houses

The 3rd House in the Birth Chart Tells Us About:

How important communication is to us

How we express ourselves through spoken/written word

Our learning style and high-school education

Our relationship with siblings & the immediate environment

Our driving skills, as well as why we take short trips

We analyze the sign, the ruling planet of the sign, the degree, and any planets in the house (and their aspects). For this post, I am only asking you to look at the sign on the cusp and where its ruling planet is placed. This area of life is where your communicative abilities can shine the most.

E.g., if you have an Aries 3rd house, look at the house where Mars (also check out the modern ruler, Pluto) is placed, and read the explanation below.)

Some signs have TWO rulers, so read about both:

♈ Aries: Mars & Pluto

♏ Scorpio: Pluto & Mars

♐ Sagittarius: Jupiter & Neptune

♒ Aquarius: Uranus & Saturn

♓ Pisces: Neptune & Jupiter

3H Ruler in the 1H Your communication is closely tied to your self-image and self-expression. Others notice your manner of speech right away, and this could mean different things depending on the ruling planet. You express yourself best when you are able to freely speak up, and share your humor and opinions. You might learn best when you are physically involved in your learning. You can have a great sense of orientation and driving skills. Close relationships with siblings. Great communication is vital to you and your self-confidence. You could be a great writer/journalist/comedian or be involved in business and marketing. Short trips by yourself or for personal reasons.

3H Ruler in the 2H You probably like to think and talk about practical topics such as money, work, health, etc. You could also be skilled at crafting things and working with your hands. Similarly to the 1H people, you can have a "hands-on" approach to learning, and probably like to put any theory to the test. "Does it ACTUALLY work?" You might like to invest money into technology, education, cars/vehicles, and books. You could be interested in financial education, economics, real estate, or the arts. The financial state of your family affected your education and early environment. Your siblings ask you for financial support. Short trips for practical reasons.

3H Ruler in the 3H Communication and mental health are extremely important to you in this lifetime. Your immediate environment, education, and relationship with siblings play an important role in your life. You can be great at expressing yourself in verbal or written form and have the ability to sell goods, advertise, and be driven to learn things. You could be highly involved in your day-to-day life and love to find new and better ways to deal with everyday reality. You can be naturally skilled at solving everyday problems and fixing things. You could be quite fond of social media or the news - you like to stay in touch with everything that's going on in the world right now. Short trips with your siblings or acquaintances/schoolmates.

3H Ruler in the 4H You communicate best when you feel emotionally safe. You might be shy around strangers or people you don't "vibe" with. You could be interested in psychology and the themes of deconditioning, trauma, inner child healing, and family. You could've been homeschooled or you like the idea of homeschooling your children one day. A sibling of yours might've played the role of a mother/nurturer to you or vice-versa. You think deeply and love to see people open up to you and reveal their emotions and vulnerabilities. You could be interested in real estate, creative writing, and working from home. Your upbringing affects your communication and thinking patterns. You learn best in a safe environment that feels cozy and protective. You also might be a visual learner with strong emotional memory. You might be prone to thinking about the past a lot. You can be a skilled cook or good at fixing things around the house when they break. Short trips with the whole family.

3H Ruler in the 5H Your style of communication might be emotionally expressive, theatrical, and lively. You might love to draw people's attention by voicing your opinions or using your communicative abilities to entertain. You could be naturally skilled in the arts or want to go through formal art education. You might also have siblings that are artists. You love to talk about fun stuff, discuss art, movies, and flirt. You learn best when you are having fun! Communication with your own children is important to you, as well. You could have a "gambler" mindset or might like to take risks. You might like to buy or sell beauty/luxury items. Short trips for the purpose of having fun and enjoyment.

3H Ruler in the 6H This is double Mercury energy, so the importance of communication and service is amplified in your life. You can use your intellect and communicative abilities in your work or as a way to serve others in a practical way. In your education, you are punctual, responsible, and efficient. You love to learn! Especially about things that improve your day-to-day reality such as how to fix things around the house, how to improve your health, be better at your job, etc. You are probably a cautious driver, as well, and you can take short trips for work or for the sake of fulfilling other responsibilities. You could be interested in medical education/naturopathy but it really depends on the planet.

3H Ruler in the 7H Communication is crucial for you in your close personal relationships. If the planetary ruler isn't afflicted, you likely express yourself freely in front of others, and can easily forge new connections and partnerships. You can be a huge flirt! If the ruler is afflicted, you can struggle with self-expression. Nonetheless, people pay a lot of attention to how you think and communicate. You could potentially meet your future marriage partner during a short trip or thanks to your siblings/neighbors. You could also meet them while you are out riding your bicycle around the neighborhood, or buying coffee from your local coffee shop. Potential "high school sweethearts" placement, as well. You could have an education or a strong interest in relationship dynamics, and depending on the planet, that could be the placement of a counselor or a lawyer. Short trips with your partners, people close to your heart, or for business.

3H Ruler in the 8H In your communication, you like to go DEEP. You aren't satisfied with superficial information and you likely avoid social media, gossip, and small talk. You can keep a secret. You could potentially be challenged in your communication, and appear asocial or closed-off. It all depends on the ruling planet and its aspects. Nonetheless, you have an interest in the occult, psychology, sex, death, and other "taboo" topics. You could also come off as critical and sharp with your words. You could study and be interested in financial topics, and investments, or run advertising for a funeral agency. (I'm only halfway joking lol, and this is my placement, too 🤣) If the ruling planet is afflicted, you can be prone to accidents with vehicles or in your close environment. There could be issues in early education or perhaps strong bonds with some of the people you went to high school with. Possibly love-hate relationships with siblings, too. You like to take short trips with your intimate partners or by yourself.

3H Ruler in the 9H Your long-term goals and philosophy in life can be formed through your early education and experience of the early close environment. In your communication, you could be quite philosophical and might love to think about existential questions and the "big perspective" in life. You communicate and express yourself best in an academic environment of like-minded people/colleagues or with your professors. Alternatively, you could have issues there, depending on the ruling planet. You could be interested in foreign cultures, be multi-lingual, or skilled in literature or history. You could be the local tour guide for foreigners. You could pursue higher education in journalism, science, and writing, or decide to become a teacher, yourself. A lot of it depends on the ruling planet. Short trips for educational purposes and for the sake of adventure.

3H Ruler in the 10H Your communication abilities play a role in your career. Your education is the foundation of your profession and social status. Learning more languages, improving your practical skillset, communication, staying informed, and using social media constructively can help you advance career-wise. You could work in the field of trading, marketing, writing, teaching, and other Mercurial fields. It largely depends on the ruling planet. You could benefit (or suffer) from your ability to relate to authority figures and those "above you" on the social ladder. You probably like to feel in charge of your learning and education, but also love structure and measuring your achievements. You could have been ambitious and competitive at school. Taking short business trips.

3H Ruler in the 11H You communicate with pleasure among friends and like-minded individuals. This includes internet friends and communities. You love sharing your thoughts, visions, and interests with others, and engaging in inspiring conversations. You probably enjoy discussing social issues and topics and talking about your dreams and aspirations. You could also be prone to changing your interests a lot, and you could join many groups and communities over the years - especially in high school. You love to learn more about progressive ideas, technology, astrology, astronomy, science, etc. You might have a friendly relationship with your siblings. Regarding your learning style, you could be more fond of learning through the internet or working in a collaborative environment than sitting at a desk and having to "memorize" stuff. You could take short trips with friends.

3H Ruler in the 12H You could be really private with your thoughts. You could speak in a compassionate and gentle way that draws people in. Alternatively, you could be closed off and avoid communication or have some sort of a speech impediment/disability. You could be interested in learning more about spirituality, healing, art, mental health, etc. You could find that you tend to daydream a lot and your imagination is really vivid. It could be the placement for a painter, dancer, or creative writer, but it depends on other factors. Your education can involve the things above, plus psychology, energy healing, or the more traditional medical field. You could struggle in a traditional school environment. Your learning style is highly intuitive and may involve storytelling, metaphors, and visualization. You could definitely study better in solitude. Strong emotional memory. Great listener. You can take short trips to be by yourself and jam along to your favorite music.

The Ask Box is open for specific questions, folks! 😊

- Foxbörn

ᴍᴀꜱᴛᴇʀʟɪꜱᴛ 1

ᴄʜᴀʀᴛ ʀᴇᴀᴅɪɴɢꜱ

ᴡᴀɴᴛ ᴛᴏ ʙᴜʏ ᴍᴇ ᴀ ᴄᴏꜰꜰᴇᴇ?

[olderthannetfic]

How do you feel about social justice critique of media?

--

It's fine if it's performed with media literacy...

So that leaves out 99% of Youtube.

I thought Dan Olsen's A Lukewarm Defence of Fifty Shades of Grey was a fun watch. Dan combines a lack of squeamishness about sex with a great command of cinematic language and good research skills.

The problem with a lot of so-called critique is that it boils down to "People need to think about X" where X is something that has been discussed to death for decades. It ends up being little more than sealioning—that thing where you take up all of people's time and energy with stale arguments to try to badger them.

Fundamentally, some people being impressionable and bad at reading shouldn't bar the rest of the world from consuming art. Social justice critique of media needs to take this into account or it's worthless.

The kind of thing that's worthwhile is analyzing the cinematography of some show to explain how it subtly sidelines certain characters of certain demographics despite them being more or less equal in the script. That gets at relatively objective facts while also plausibly educating the audience who may have sensed these things but not known how to articulate them in film terms.

Taking potshots at problematique romance novels, like half of youtube does, is fundamentally worthless trash. Tacking on the words 'rape culture' doesn't change that the fundamental motivation is clickbait driven by the subconscious misogyny of the audience.

Didactic art is boring. Critique that asks art to be more didactic is shit.

[renthony]

I haven't enjoyed a Marvel movie since I stopped bothering to keep up with the MCU in 2014. I don't care for most Marvel movies. I think Marvel Studios is a case study in things that are shitty in the entertainment industry. But holy shit, pretentious posts along the lines of "haha, I don't watch Marvel films, I have real taste, go watch another movie!" are so fucking annoying.

Like, go put up your middle finger at some preps or something. People are allowed to watch whatever they want and enjoy whatever movies they want and make whatever fandom stuff they want, and that doesn't say anything about their intelligence or morals or character. It doesn't mean they are somehow bad at watching movies, or are too stupid to realize whatever nugget of wisdom ye high-and-mighty Marvel Haters think you're the only ones to understand.

Again, not personally a Marvel fan, but this whole "haha, I'm better than Marvel fans" relates to something I've been musing on about media analysis as a whole. There is a persistent idea that mass entertainment is inherently lower quality or less artistic because it's made for a wide audience, and that bad art isn't worth analyzing or engaging with just because it's low quality. In this mindset, the only art that has the possibility to be any good at all is 100% independent projects made by amateurs, and anything produced by a studio or with wide appeal is inherently poser art with absolutely nothing meaningful to say. In this mindset, you can't possibly learn anything or take anything from bad art, and if you find meaning in bad art, you're clearly just stupid and uneducated and have bad taste.

The thing is? Liking bad art is not a sin. Having a different opinion about what constitutes "bad art" is not a sin. Finding something entertaining despite its flaws is not a sin. Studying bad art is not a sin. You can learn a lot from bad art, you can learn a lot from interpreting propaganda, you can learn a lot from engaging with things even if you don't think they're very "good."

My vaudeville research keeps turning up author after author who talks about vaudeville as some sort of "point of no return," like the performing arts all turned to shit the second things were intended to be seen by more than a single audience for a single show. Popularity gets equated with lack of skill or quality, because all the performers were "just pandering to the audience" instead of relying on "real skill."

For one, what the fuck does that even mean, but for two, the theatrical quality of vaudeville isn't what makes it interesting and worth engaging with. Every single thing that ever came out of vaudeville could be 100% total utter garbage, but vaudeville would still be worth studying because of how influential it still is on arts and entertainment today. It has significant historical and educational merit. And some of it is still genuinely fun and entertaining, once you pick out all the things that didn't age well or were just plain bigoted. There's artistic merit in those old sketches and songs, and there's meaning to be drawn from plenty of it even here in 2023.

You want to learn about the Hays Code? Well, let's talk about how early films were shown on projectors on vaudeville stages, so vaudeville censorship went on to influence American film censorship. Let's talk about how we still use slang to this day that originated on vaudeville, such as "skit" or "one night stand" or "ad lib" or "the big time." Vaudeville is still in the bones of the modern American entertainment industry and pop culture, and you can't really escape that influence.

People in modern day use Marvel movies as proof that big studio films are singlehandedly responsible for the decline of art, and there is nothing to learn from them or see in them at all, ever. But to me, "Marvel movies are bad" is such a flat, uninteresting observation, because when it comes to media analysis, it doesn't really matter if Marvel films are good or entertaining. If you want to actually dig into the problems with big-budget summer Hollywood blockbusters, and the way they're impacting the industry as a whole, you have to go deeper than "pop culture is all stupid stuff for stupid people, unlike me, who isn't like other girls actually has good taste in media!"

There are so many more factors at play than "mass entertainment = bad art." Let's look at the ways capitalism screws over small creators and forces them to seek funding from the very same studios that fuck them over. Let's talk about how the actual workers in the industry are fighting tooth and fucking nail against the exact same things all the Marvel haters harp on about. Let's talk about studios that accept funding from the United States Government to turn superhero comics into propaganda films, and then threaten the actual workers with never having a career again if they complain or quit. Let's talk about how the actors are regularly abused and treated to hostile work environments.

Let's talk about the people who made the films, because the films were not made by a CEO pressing the "make movie" button. The workers made those films. The workers were exploited by those studios. Let's try giving a shit about them, instead of taking the "haha, Marvel fans are stupid and cringe" route.

There is so much more fucking nuance and detail and conversation about mass media as a topic, and boiling it down to, "art made for a wide audience is inherently shitty and has nothing to say."

You're not a better, more intelligent, more educated person just because you don't like Marvel movies. Making posts about how much better you are than Marvel fans does nothing to either explain or tackle the issues in the entertainment industry.

It just makes you look like a dickhead.

[daddyduncan69]

One of my recent posts got a few comments about media literacy being dead and Neil being an unreliable narrator so I want to clear some things up.

Firstly, media literacy isn't dead becuase it cannot die. Also, I am not a big fan of fear mongering. Humans have always sought to understand and communicate with each other about the things we create. It is a skill that can be taught and should be practiced. There is no one right way to do it. And, while I think the education system fails so many of us (something something to make us easier to control something something), I also think that there are tons of resources to help us learn without the need for an official "teacher". So, instead of pessimistically saying is it "dead" (especially on someone's textual analysis post, like... are you saying I prove it's dead becuase I don't have media literacy? are you agreeing with me and therefore proving yourself wrong? do I not count for some reason? i don't think I get it), engage in discourse about media that you love. And I mean actual discourse, not just fighting on social media about whether or not everyone should "like" your favorite character. Ask yourself "what is the effect of this rhetorical device in the text?" "is the text trying to make me like or not like this character? is it working, why or why not," (do not ask "why did the author do this?" because that is not relevant nor are you a mind reader). Take free online Literature classes from colleges that help you learn how to analyze. Invite others to do it with you. Join or start a book club. Engage in various types of media, not just YA, fantasy, fiction, etc. Consider kindly rebutting or offering a counter point to other people's interpretations, bringing actual textual evidence to back up your points. Use Google Scholar to access free scholarly articles to see academic prospectives on various medias that are not just from social media or blogs. Your local library may even have subscriptions to paid sights like JSTOR or collections of essays that would let you access articles that are otherwise behind a paywall. All of these things can help improve your own media literacy and, in turn, will help improve the media literacy of the people around you.

Secondly, the point of my other post was NOT that Neil is an unreliable narrator. I've seen a lot of people make this claim so I wanted to chime in. Unreliable narrators are marked by a few characteristics, some of which are exaggeration, detachment from reality, naivety, and deception of the reader. I don't believe Neil falls into any of these categories. I would be open to arguments that claim he does, but it would be hard to sway me because I can't find any textual evidence to support it. This is an important distinction to me because the larger claim I make in that post is that ALL narration, 1st person, 3rd person, omniscient, limited, etc is biased- all of it. It is CRUCIAL as readers to identify a narrators biases and consider the text through that lens. If you aren't practicing doing that (or only doing it when the narrator is "unreliable") you can easily fall into the trap of saying "well Neil says Kevin is a coward so he is", which is obviously an issue in the grand scheme of textual analysis. However, you can also easily fall into the trap of saying "Neil is an unreliable narrator because he is wrong about things/lies to people/has trauma so you can't trust him". I believe that Neil tells us as the reader the truth in his narration almost 100% of the time, Neil just lies to the other characters 24/7. So, as readers we should take what he says in his internal monologue at face value but question the motives behind his dialogue with other characters.

Anyway, that was a long winded, probably boring monologue about critical textual analysis. I devote maybe 16 out of my 18 waking hours to thinking about this, so thanks for hanging in there to read it all. I just care so deeply that we as a culture continue to grow these skills without shaming those who haven't had the same opportunities to learn how to do it or making the act of learning how to feel hopeless or doomed.

[phos-phorus]

Ok here’s the promised Simi ficlet

You can actually read this as platonic and romantic so I hope you guys like it.

I greatly appreciate any feedback and maybe even some prompts or requests if y’all want me to write more specific ficlets.

Anyway here’s Kimi being a gentle sweetheart and wiping away our golden puppy’s tears

Please ignore any spelling or grammar mistakes or dm me if they are too annoying lmao

In 2010, Vettel’s rise was meteoric. His sheer talent and the prowess of the Red Bull Racing team created a formidable combination. The first championship was a dream come true. Yet, even then, whispers of criticism began to surface. Some questioned whether his success was due to the car rather than his skill. The phrase “a champion built by engineers” started making rounds in the press.

By 2011, the whispers had grown louder. Journalists began to dissect every aspect of Vettel’s driving. “Does Vettel really have the racing intelligence of a true champion?” one headline questioned. Every maneuver, every decision on the track was analyzed with a fine-tooth comb. If he won, it was expected. If he faltered, it was headline news.

The 2012 season was perhaps the most grueling. The competition was fiercer, and Vettel’s dominance was no longer a given. Media outlets latched onto any sign of vulnerability. “Is the pressure getting to Vettel?” they asked after a rare mistake at the Malaysian Grand Prix. The relentless questions about his mental fortitude began to chip away at his once unshakeable confidence.

By 2013, despite securing his fourth championship, Vettel was exhausted. The constant barrage from journalists was relentless. At every press conference, the questions were sharper, the critiques more pointed. “Does Vettel’s dominance signal a lack of real competition in F1?” and “Is Vettel ruining the sport’s unpredictability?” were common refrains. It wasn’t just about his driving anymore; it was about his very presence in the sport.

In private, the toll was evident. Vettel, once full of vigor and passion, found himself questioning his own abilities. The joy of racing was being overshadowed by the fear of making mistakes that would be ruthlessly dissected. His team noticed the change, often finding him deep in thought, a shadow of the exuberant driver they once knew.

One particularly grueling press conference after the 2013 Japanese Grand Prix became a turning point. Despite securing yet another victory, the press conference that followed was anything but celebratory.

The room was filled with journalists, eager to ask their questions. However, this time, the tone was more aggressive and personal. One after another, they peppered Sebastian with questions that implied his success was hollow. The atmosphere was charged with a palpable tension, and it wasn’t long before the questioning turned hostile.

“Sebastian, do you think your success is more about Adrian Newey’s car than your driving skills? Do you think you’ve had an unfair advantage with the car?” one reporter asked, his voice dripping with skepticism.

“How do you respond to claims that your championships are less valuable than those of past legends because you never had real competition?” another chimed in, eyes narrowing.

His voice, usually steady and confident, wavered. “I have always given my best, on and off the track,” he said, his frustration palpable. “I respect the history of this sport and the champions who came before me. If you think my achievements are less because of the car I drive, then you underestimate the effort it takes to win consistently. This isn’t just about me; it’s about the entire team. We work hard for every single victory.”

The questions were thinly veiled accusations, each one more cutting than the last.

Vettel’s usual composed demeanor began to crack

“Do you think your dominance is ruining the sport’s excitement?”

“Isn’t it true that without the best car, you wouldn’t even be a contender?”

The relentless barrage of accusations and doubts hammered at Vettel’s psyche. He tried to maintain his composure, but the weight of the criticism was overwhelming. His answers became shorter, his voice strained. The room seemed to close in on him, the once supportive walls now echoing with doubt and disdain.

Finally, a particularly harsh question broke him. “Sebastian, do you think you’ll ever be as respected as drivers like Schumacher or Senna, given that your success is seen as less earned?”

Vettel’s eyes glossed over with a mix of frustration and hurt. He took a deep breath, trying to steady himself, but the words caught in his throat. “I… I think that’s enough for today,” he managed to say, his voice barely above a whisper. “Excuse me.”

He stood up abruptly, leaving the room in a hushed silence. The journalists, momentarily stunned, watched as he walked out, his shoulders slumped under the weight of their words.

Sebastian sank onto a bench, his head in his hands. The tears came unbidden, hot and silent, as he fought to keep his sobs from escaping. The weight of the season, the constant scrutiny, and the relentless pressure finally broke through his defenses. He felt small, overwhelmed, and terribly alone.

“Seb?”

The voice was quiet, almost a whisper, but it cut through the fog of Sebastian’s misery. He looked up to see Kimi standing a few feet away, his expression as unreadable as ever. Kimi had always been an enigma, a man of few words, but there was something in his eyes now—a depth of understanding that Sebastian hadn’t expected.

“Are you okay?” Kimi’s voice was gentle, devoid of the usual sarcasm and aloofness.

Sebastian tried to muster a response, but the words caught in his throat. He shook his head, his shoulders trembling with the effort to hold back his tears. Kimi’s presence was both comforting and disconcerting; the Finnish driver had never been one for emotional displays, and Sebastian didn’t know what to expect.

Kimi took a step closer, then another, until he was standing right beside Sebastian. Without a word, he sat down on the bench, his arm reaching out to rest gently on Sebastian’s back. The gesture was simple, but it carried a world of meaning. It was an offer of solace, a reminder that he wasn’t alone in this moment of vulnerability.

After a moment of silence Sebastian lifted his head, his eyes red-rimmed and filled with unshed tears. “I can’t do this anymore, Kimi. They keep tearing me down. No matter what I do, it’s never enough.”

Kimi pulled him into a hug, strong and reassuring. “Listen to me, Seb. You are an incredible driver. You’ve proven it time and again. The media… they don’t understand. They don’t see the hard work, the dedication. They only see the results, and they twist them to fit their narrative.”

Sebastian shuddered, hot tears slowly rolling down his cheeks and Kimi leaned back just enough to be able to look into Seb’s glassy eyes and wipe away the tears while he spoke, his voice a soothing murmur in the quiet room.

“You’ve achieved so much. Four World Championships, countless won races. Don’t let them take that away from you. Remember why you started racing. The love for the sport, the thrill of the race. That’s what matters.”

As Kimi held him, he reached up to stroke a stray curl out of Sebastian’s face, the gesture so gentle and innocent that it broke through Sebastian’s defenses. A sob escaped his lips, and he buried his face in Kimi’s chest, his body shaking with the force of his emotions. Kimi continued to whisper soothing words, his hands stroking Sebastian’s back in a steady, comforting rhythm.

The room was quiet, save for the sound of Sebastian’s muffled sobs and Kimi’s calming whispers. Sebastian clung to Kimi, drawing strength from the Fins unwavering support. He felt the knots of tension slowly begin to unwind, replaced by a sense of warmth and security.

“You are a champion, Seb, my champion” Kimi continued, his voice steady and reassuring. “Don’t let their words define you. You define yourself by your actions, by your passion.”

Sebastian nodded against Kimi’s chest, the tears still flowing but the anguish beginning to ebb.

For a long time, they sat there in silence, the noise of the outside world fading into the background. Kimi’s arms remained a steady anchor, his silent support speaking volumes. When Sebastian finally lifted his head, he saw a small, understanding smile on Kimi’s face.

“Thank you, Kimi,” he whispered. “I don’t know what I’d do without you.”

Kimi’s embrace tightening around Sebastian. “You don’t have to do anything without me. We’re in this together. And no matter what happens, I’ll always have your back.”

[genericpuff]

I'm not sure if you've answered this question before but what were some of the things that made you interested in Lore Olympus in the past and at what point did you lose interest?

I adored the art in the beginning, and just like, the really warm-feeling romance that just had me feeling so giddy reading it. There were some red flags in the beginning like the age gap, but I kinda fell for the same mindset of "well they're gods so what does it matter" (obviously I can't in good faith use that argument anymore because if the age gap didn't matter then it either wouldn't exist or wouldn't be brought up in the first place lmao but it took me a while to realize that).

Now, to be fair, LO was also one of my first introductions to webtoons as a format, prior to that I had read mostly manga and left-to-right indie webcomics (i.e. comics that were hosted on their own site) and I was still in the early years of my own development as a writer and artist (I still feel like I'm early in that development tbh) so of course there were undoubtedly a lot of obvious flaws that went over my head (and I was younger and inexperienced so I wasn't as critical of what media I was watching / reading as I am now) but that's been half the fun of catching them now - it's given me a lot more perspective and helped me hone my own skills in my writing by analyzing what's wrong with LO and brainstorming on how those problems can be avoided.

But then there was the Act of Wrath plotline and I was completely sold on it being gold. Anyone who's read my original work knows how much of a SUCKER I am for "dark alter ego" plotlines, I eat that shit up like junk food. But what I like about the dark alter ego tropes is when they're used to explore the subconscious, question one's morals and true identity, etc. That was what I was hoping for and expecting with the AoW plotline in LO - that her "dark self" was gonna be a reflection of how she felt "held back" by her circumstances in the Mortal Realm, and her wrath being something she could use for retribution (in a "do no harm but take no shit" kinda way). Especially with how naive and innocent she was in the beginning, I loved the idea of her slowly coming to terms with her "darker" side and learning not to suppress her emotions until they had nowhere else to go and exploded (which was how I interpreted the AoW).

So when it didn't do that, or even explore an ounce of nuance regarding her relationship with her wrath, I was very disappointed to say the least. When Eris was revealed to be the one who "blessed" her with wrath, that was when the rose colored glasses started to fall off and I realized "wait, does Rachel not have an actual plan for this whole Kore vs. Persephone thing???" And now her wrath is literally just there to... give her the power to bully people?? It just feels so disheartening to see such potential squandered.

Don't get me wrong, I'm not gonna chastise a story if it doesn't go exactly where I want it to go, there would be no fun in that anyways (and that's what fanfiction is for lmao). But when a story is leaving very interesting but connectable breadcrumbs that are VERY clearly leading you somewhere and then just... doesn't, that's when it's disappointing and unsatisfying. LO feels like a "creator vs. the reader" story in the worst way possible, where it's constantly leaving breadcrumbs, getting pissed when the audience "figures it out", so then it overcorrects and tries to "subvert" itself to keep the readers "on their toes"... but the problem is that all it really does is punish the readers for paying attention and investing themselves in the story by giving them a worse story. It's like Rachel's getting mad at people for figuring out a story that she's writing and hinting towards.

And this has been going on for YEARS now, it's like a Shepard tone where it sounds like it keeps getting higher and higher in pitch but then doesn't actually resolve so your brain is just scrambling trying to figure out what in the world it could be "building up to".

There's nothing. It's not building up to anything. It's just constantly putting down new plot threads that are slightly altered versions of previous plot threads and expecting you to keep following along while it makes a mess of itself. It feels like you're going somewhere but you're actually still just running in place. It's just Rachel never learning how to progress past the middle school writing level of "and then this happened and then this happened and then this happened". Not only is it disorganized writing, but it's just... it's so boring. Nothing's exciting or interesting anymore when it keeps distracting itself with shiny new plotlines and characters that never get resolved.

It's like when you were a kid and thought "man , when I grow up, I'm gonna eat nothing but chocolate cake and ice cream every day forever!" and then you get older and you realize you were being silly because eating nothing but chocolate cake and ice cream every day 1.) isn't good for you and doesn't feel good, and 2.) the appeal and novelty of it wears off if you can have it any time you want, it doesn't feel as special anymore as it did when you were a kid and having those things was a treat.

To compare this back to LO, none of its "reveals" feel like treats anymore, they feel like just another half-assed attempt to keep people interested. It's clickbait.

And don't get me wrong, you CAN totally subvert the breadcrumbs you put down for your audience and go in a completely different direction than where the audience was expecting, but it takes a shitload of skill and thought to do it well. Attack on Titan is one of the best recent examples of a story appearing to completely throw out its original script halfway through, only for that script to actually still be relevant in a very complex and thought out way. Especially when there ARE hints towards the big "twist" that make you go back and rewatch it and realize "WAIT, THEY'VE BEEN GIVING US THE ANSWERS ALL THIS TIME?!?!"

(it would be TWO MORE FUCKING SEASONS before this ending would make sense, that's fucking GENIUS foreshadowing and in the CREDITS SEQUENCE LIKE ?? IT'S SO BLINK AND YOU'LL MISS IT HOLY SHIT-)

Evidently Rachel does not have that skill and is not willing to put in that thought; maybe she could some day, but I don't think she's learning it on the job as well as she thinks she is.

And it's disappointing as fuck because it could have been so much better than this. Rachel is literally the only one getting in her own way of LO being something truly great.

[liquidstar]

i think the real reason many of us were able to read more books and watch more shows as kids vs as adults is just because we use our brains more now. as a little kid i didnt think about the stories very deeply, especially not on a meta level. i wouldnt really analyze the subtext, form critiques about the way they depict certain topics, or take real-world implications into account. i mean, on some level im sure the ideas were there, but generally i would just sort of take the events as they came. a surface level read, often with thermian interpretations. and then id just move onto the next book/show without thinking much more about these things.

but as an adult, those things are exactly what i think about every time i engage with media. it can be very fun, and i enjoy doing so quite a bit, but it also does take more energy. you have to pay more attention and take things a bit slower sometimes, instead of just racing through it with your brain empty. you get more meaning out of it this way though, so i still see it as a net positive. its not just about "consumption" or quantity, but the quality that you personally get out of the story. the way it will impact you, and it doesnt matter what it is. art is in the eye of the beholder and all.

so at the end of the day i dont think you have to feel bad that youre not consuming as much as when you were a 7th grader with infinite free time and less developed critical analysis skills. you dont have to be in this weird race with yourself. youre probably getting more out of it now than you did back then, just because youve gotten better at said critical analysis skills, even if employing them takes more energy and time. you know how to now, so the experience overall is richer, even if its less in quantity. thats what i think

[qqueenofhades]

thank you for your post i’m doing my best to stay informed on the conflict and i’m very young. i feel guilty being quiet as i understand to uplift voices helps prevent their silencing but this has lead me to not critically think about what i’m spreading

it’s been a long month. i’m only a kid and watching the world go to shit like this has been awful, I always wondered how millennials who lived through post nine eleven imperialism coped and god i’m still not sure how.

I am as a white gentile in a position of privilege and mostly my own person is unaffected by the uptick in violence and evil in the world right now. But my friends who i see every day are in more danger due to this conflict and i feel awful that i cannot ever fully understand or fix the deaths of people.

Right now I’m being a bit too reactionary. I’m doing my best but in the end I am not immune to fearmongering and propoganda, especially in these last couple sleepless weeks.

So thank you and everyone who is keeping level heads and desconstructing what’s happening. I’m sorry and i strive to be better. Thank you.

To anyone living in fear right now i’m so sorry. I will listen when you speak.

Once again I just want to say that I am a busy and uninformed student, and I wish that i had more teachers and authority figures that had objective facts to tell me. It’s suffocating to have fake news everywhere but feel powerless if you don’t know anything

it’s ok if you don’t respond to this

Thank you for your post

Thanks for this message and for taking the time to put it into words and to reflect on your own actions and rhetoric. It takes a lot of courage and self-awareness to admit that you were wrong and that you want to do better, and I'm not going to rip into you or blame you or otherwise shame you for it. So I hope this gives you the confidence to read on without feeling like you'll be raked over the coals for it, and open you to hear some ideas for doing things differently.

First, I do have a ton of sympathy for you as a young person who feels overwhelmed and exhausted by all the evil in the world, and is wondering how to get through it, react to it, or otherwise make some kind of moral response in the face of this soul-crushing trauma. I will say here that I am a little bit older than your average Tumblr user (the majority of this site is in their early-mid twenties), I do personally remember 9/11 and its aftermath when a lot of people here weren't even born yet, and I am an academic historian with a doctorate. That does not mean I am better or smarter or More Perfect or whatever at what I say, but it means that I do have a considerable amount of institutional, formal, and professional practice at analyzing a lot of complex information, putting it into words, breaking it down for less-specialist audiences, pointing out logical fallacies, and so forth.

That is not a skill that everyone has, and in the face of nonstop 24-hour news-cycle social media information overload, it can be incredibly difficult to parse it or understand how you're supposed to respond to it or what your moral obligation in response to this knowledge might be. I wrote this ask the other day in response to someone else asking how to improve their critical thinking skills and be more discerning about what they understood, shared, and analyzed. I strongly encourage you to read it, as it addresses a lot of what you're saying about feeling negative, depressed, panicked, angry, and all the other emotions that are naturally evoked in you from reading this stuff nonstop and feeling like the only thing you can (or should) do is immerse your brain in it at all times. In short, that is absolutely the worst environment to do actual substantial analysis or critical thinking, and it is designed so on purpose.

It has been said before, but it bears repeating: the human brain simply is not designed to be constantly aware of all the atrocities in the world and thus (thanks to social media) feeling as if the only way they can do anything about it is to then post the Correct Opinions on social media (regardless of whether these are informed or relevant or otherwise useful). Especially now, the rush to demonstrate Correct Thinking has warped a lot of otherwise well-meaning young people into becoming eager disinformation mouthpieces. There are a TON of explicitly bad-faith actors and far-right fascists who are posting pro-Palestine content (factual or uh, otherwise) because they know that's an instant way to get an audience of said young left-leaning people who will then be suckered into and exposed to their far more dangerous content and mindset, because that is how radicalization works. Even in the support of an obviously worthy cause, you and everyone else ARE NOT IMMUNE to fearmongering, disinformation, and virulently anti-Semitic propaganda, especially when it's being eagerly and constantly offered in a deliberate attempt to radicalize you further into violence and conspiracy theories, turn you against other vulnerable groups and people, and explicitly disengage you from the electoral/political process, which will harm the Democrats and other liberal establishment parties in favor of more far-right radical fascist theocrats and otherwise make everything, everywhere, many orders of magnitude worse.

I know the feeling that you need to do something, and since you're a long way from the conflict, it seems as if posting on social media is the best and/or the only way to go about it. In that environment, and especially right now, you will make mistakes. I know it is difficult in an online environment where popularity or acceptance by your peers often rests on never being wrong about anything (i.e. saying the same thing everyone else is saying), but it always helps to think about what you're doing, what you're saying, and if you actually need the approval of people who are conditioning you, implicitly or explicitly, into negative and violent ideological nihilism.

The hardest thing to understand is that yes, there is a lot of terrible shit going on in the world; no, you cannot personally fix it and you have to accept that as a limitation; yes, there are many multiple and complex causes and reasons for its existence and there is almost never a black-and-white simplistic moral solution that just hasn't been magically implemented yet; yes, it is always worth it to take the time to inform yourself and consider what you're saying, where it comes from, who it helps and who it hurts, and why you feel the need to say it in the first place. Of course you want to help. Of course you want to stop the needless suffering and death that has gone on in the world for millennia and unfortunately, as long as humans are humans, will continue to do so. But even so, take it away Gandalf:

[petricorah]

i wanna start making comics but like. i dont really know how??? are there any tips that you could give me perhaps?

hi!

i've been working on trying to compile a list of resources for people (@aangsfrogs--i didn't forget!) who want to make comics for a long time. It would consist of some of my personal tips and a lot of links to other people's PDFs and youtubes. But that's...a hefty project, so if you had any specific questions for the meantime, my askbox is open!

But, for just beginning, here would be my tips:

Read comics. Read manga and webcomics and cartoons and medical comics. There is so much out there, and reading is such a big way to learn. If you see something you like, take a moment to think about why you like it. Are the expressions or colors appealing? Did it make you feel a certain emotion? Analyze what the artist may have done to get across what they did. (Is it the camera angle? the style they chose to draw in? the paneling? the pacing? the color? etc.) Doing this over time will help you recognize the tools available for telling stories through this medium, and you'll be able to put them in your own work.

Try to think about what you want to make comics about. What moves you? What topics interest you? What ideas or tropes do you love in media or think about often? What do you hate and wish was done better? What characters are you drawn to, or what characters do you want to create? (What about them compels you?) I find it's hard to create an idea out of thin air, but if you start writing down random ideas you have, you'll start thinking about them, and over time, you'll have a bank of things to pull from when you want to create.

Lastly, anatomical skill or knowledge of color does not a comic make! You don't have to know much to begin, and there aren't rules. Just start drawing what is meaningful to you!

This is just cursory and doesn't get into super specifics like paneling or scripts or plotting or colors or thumbnailing or....etc, but I'll try to expand my list of resources and get that out! And, hmu if you have any specific questions on topics!

happy drawing~

Book list under readmore:

Scott McCloud's Understanding Comics and his Making Comics. These books are taught in like, every comic class ever. While not my complete favorite, they do a good job of showing some history and fundamentals, and how easy it is to make comics even if you don't have a lot of drawing experience.

99 Ways to Tell a Story: Exercises in Style by Matt Madden: Really good if you don't know how to start analyzing comics. (Also it's just a fun visual exercise.) It shows the same short story done in 99 different styles with different emphasis on different moods and points of view.

The PreHistory of The Far Side: A 10th Anniversary Exhibit by Gary Larson and The Calvin and Hobbes: Tenth Anniversary Book by Bill Watterson: Two great books with work from my two favorite cartoonists. They both have writings from the author about getting ideas, developing stories, and being a comic artist.

Uncanny Bodies: Superhero Comics and Disability, edited by Scott T. Smith and José Alaniz and Black Comics: Politics of Race and Representation, edited by Sheena C. Howard and Ronald L. Jackson II: These two aren't really about making comics, but they are great collections of analysis about old and new comics alike.

By no means a complete list, but some good ones that I can think of off the top of my head.

There's also the book Webtoon School: Everything you need to know about webtoon creation and story writing. To be honest, I didn't read this completely through because it was a bit more fundamental than I was expecting, but it gives a good cursory look of how to write comics if you're just starting out! It covers some history, how to write stories and arcs, etc.

Also, look to your favorite writers! A lot of webtoon/webcomic artists do tutorials or youtube videos. for instance, velnxi has this great tutorial up I really suggest looking at here.

[20001541]

I'm interested to know your opinion about this https://www.tumblr.com/sad-outsider/745487303531692032/while-everyone-is-wondering-how-two-babies-could?source=share

it is an interesting question, how did AFO become such a skilled manipulator if he grew up feral on the streets? here's my thoughts:

so I don't think from the beginning AFO was all that interested in other humans. we're told that those who didn't give him anything he viewed with distrust and disdain, and the two times we see him coming across some people as a child it's just him killing them. maybe he watched them warily when they passed by, but ultimately he didn't engage with any of them to talk directly (as far as we know). BUT it's been pointed out by others that they had a radio with them as is shown with the circle below

well it does looks like a radio to me and it would make sense that was one of their connections to the outside world (though they wouldn't understand a lot of what was being talked about) and to me it makes sense if a radio was later how afo found out about what the glowing baby was up to. so he was at the very least a little interested in hearing what the others were doing, perhaps to analyze any potential threats and maybe he was a tiny bit curious deep down about the society that rejects them, but evidently AFO wasn't interested in trying to make direct contact with them or try to involve himself in their society and none of them bothered with him either.

that is until he read that one comic book. see the thing afo admired about the villain was how people feared and revered him and so he decided he wanted that for himself. after a lifetime of being ignored by people who passed by him on the street he wanted to become something they feared so they'll follow him and never have their eyes off him. and in order to become that he needed power. he already has an extremely powerful quirk, but he needs to obtain loyal followers to help him enact his will of becoming the ultimate evil who rules over everything. I'm sure AFO realized that in order to make his dream become a reality he was going to need to use other people and I think that's when he decided to begin studying the way other humans act to get a better sense in how to get them to do what he wants.

and I would say he did this by studying various media he came across at first. whether it's looking through books or magazines (remember twins were barely learning how to read when they were small and by the time afo declares his dream they look more like teenagers so I think afo was able to read better by this time), and later maybe he found tvs where he can watch shows that were airing and see the news. so through that he studied the culture, what is deemed acceptable and unacceptable, how to present himself in a way to get others to respect him. overall he would be far more interested in the world that he had no interest in before as he sees there are things he could take for himself there and get people to give him things. I also think after he's done going through media he would've stalked some people to see how they live and act, there are some things you can't learn through media so afo would want to learn more through observing those he comes across.

I like to headcanon that he would see one person passing him by on the street then stalk them for the whole day until they fell asleep. then the next day he would choose a different person who passes by him and stalks them for the rest of the day and does that until he feels like he's learned enough. then later on he would engage in small talk with people he sees to get a better feel of interacting with others and see what they respond well to and what they don't. the more he learns about the nature of people the more he learns how to use their emotions against them and predict their reactions to certain actions.

side note I would also like to point out that afo presents himself more masculine and wears business professional attire all the time. this is important to note because afo grew up without gender socialization, which tells me he saw how business men are typically seen by society as people to be respected and hardworking. so he chooses presents himself as someone who gives off the vibe that he's someone powerful and should be taken seriously by wearing the suit and tie. trying to manipulate people isn't just something you do with words, but also with the way you present yourself to others. you want to carefully craft an image of yourself that makes others view you as what you want them to view you as so you can gain their trust easier which is what I think afo did there.

I think once he feels confident enough though he would begin practicing his manipulation skills on others.

now look here:

afo intervenes with these group of people fighting in the streets and brings peace. I feel like he would do this often, bring order among the chaos he comes across and presents a choice. "if you feel powerless and scared then join me and I'll give you everything you want and more, or don't and remain as you are. all I really want to do is help you out :)"and many did choose to join! look at all those people around afo, those are probably all the people who chose to follow him.

I think afo would've seen how badly metas were treated by society and saw how desperate people were for order and someone to turn to. people can be manipulated more easily if they're scared and looking for anyone to help them, and afo would've seen this as a great way to begin building his empire by preying on the desperate. he crafted this image of himself that not only embodies power but also generosity. he took quirks away from the unworthy and gave them to those who wanted power. makes people think things like look how good he is to those who please him! he presented himself as a savior to the people, and manipulated them by taking advantage of their own vulnerability.

all he really had to do was lend a sympathetic ear and show them hey I was an outcast like you to appear relatable and demonstrate the power he had to those are were scared and felt like they couldn't protect themselves. they saw him as a personal savior who seemed to genuinely care about their plights. of course afo doesn't care about the plights of his fellow meta humans, he just wants to use them for his own purposes then tosses them out once he's done (as yoichi points out). but he seemed so genuine in his words that many fell for it which allowed him to manipulate them further. and so many became so entranced by him that they began to attack his enemies in his name without him ordering them to do so.

of course I don't think afo was always a successful manipulator in the beginning, maybe there was a social custom he overlooked and it made him look bad in someones eyes. maybe he said the wrong thing and it made someone distrust him more. there would be a lot of trial and error on his part when trying to learn to manipulate, but as he interacts with people more and learns from his past mistakes he would get much better until he becomes the excellent manipulator he is today.

and to me afo would have multiple personas he puts on when interacting with different people. two people could meet him but comes out with very different impressions about who he is as a person. he hides his true nature (which is said to feel unsettling to be around) so they would trust him more. I think he would enjoy this game really, stringing people along and making them feel he cares so they can give him what he wants. as I said before no one gave him anything as a child so he feels he has to take it for himself, and manipulation would be one of those tools he uses to get what he wants so he would take time to develop that skill through the things I've said before.

[graspingremlinhands]

So @milk-powrit asked me to draft why I didn't like GxK, to which I decide to oblige.

DISCLAIMER: Those are my personal opinions; of a fan of Monsterverse since 2014 and a nobody with any competence in analyzing media, save some common sense and maybe rudimentals??

Also I already hugely disliked Godzilla vs Kong so my discontent had a part in how I enjoyed the movie.

To conclude English is not my first langauge and even in my langauge, debate is not one of my strenght.

Spoilers alert; so skip or I kindly suggest to block the tag: Godzilla x Kong spoiler.

Let's start with the first thing: I don't enjoy how the tone of the movie shifted so drastically from Kotm to GvsK.

In this post, a youtube user explained better than me why the shifting tone felt like a downgrade. If in Godzilla (2014) Godzilla was introduced by hearing his foot stomping on the ground. It was heavy, massive, it reverbered on the glass of the airport. It felt natural, realistic. How a creature that BIG would move in the real world.

As the user said Realistic =/= Seriousness. Godzilla can be goofy. But Monsterverse!Goji was estabilished in a setting, that was the real world.

In both GvsK and in GxK Godzilla does not feels natural. Was necessary for Godzilla to evolve, to be more nimble, when already in GvsK was already moving in a way unnatural?

Or pulling the 0 gravity fight? What purpose had the evolution, if in the end it was not even necessary. Had really improved his fighting skills? They were the same, on earth and in the hollow earth.

2 reason: I've seen around posts about how media litteracy has gone bad; in some ways about people can no longer sospend their belief and calls anything a plot-hole.

But I think that one thing is suspending the belief but another is the director of the movie making the plot moving from point A to point B without telling the audience how.

For example: Suspension of belief: They had the Beast Glove ready to use, because Monarch was already working on it ✅

But why Jia is the chosen one of the day? How the Iwi in hollow earth knew of Skull island? How the shard to control Shimo works? Why Godzilla would respond to the distress call of the people who fought against him? Why Mothra has a connection to the iwi, in particular. Since in Kong: skull island there's no reference to her? How Jia flew back on Earth with Mothra, without dying for the gravitational pull?.

Not everything has to be the viewer's guess that's what I'm saying.

3 point: Shimo and Skar King are as much wasted potential as it was MechaGodzilla was in GvsK.

Skar is menacing yes, has the ability and dexterity of a formidable foe. He's vile and disgusting, oppressing his clan (let's call it that) and he's even an abusive father. All of these things: but as a villain he's really that dangerous?

He was introduced as this terrible tyrant, a danger to the world. And he wasn't even trying to go on Earth; he went up by accident basically. Because the Iwi had to play with gravity. Or should I believe him, forcing his subordinate moving rocks was to build a staircase to the upside?

And Shimo, sweet girl. She looks so horrible. Her white scales don't blend in for anything. Like she was photoshopped last minute. Her powers do damage I see. But her being presented as one or The first Titan do actually mean something to the plot, to the character? Or a simple red-herring to made her more interesting than she actually is?

Because at the end of the day SHE IS A PET!!

"Oh Kong now has found a mate, so cute". My brothers on earth, she goes on four, is used as a mount the all time and she kept panting the whole time. That's a pet, the old dog you have to force inside when it snows.

It was pretty disappointing.

Last but not least the reason I personally dislike Wingard take on the Monsterverse, which is the point you could probably throw away all my arguments, compelling or not because it's really a ME issue, who don't think no one'd agree and I don't blame anybody for it.

I HATE HOW WINGARD DECIDED TO PORTRAY GODZILLA.

I don't hold nothing over him for having Kong as his favorite. That's personal taste, I respect it.

But when it comes to at the expense of the other protagonist, it rubs me so in the wrong way.

On this point I don't know if I want to discuss it further, but boy I do have to complain on this topic.

To summarize I'm mad Godzilla doesn't get to have the same introspection and grace is allowed to Kong, knowing he can to (if you read the Dominion comic. But since they are only distributed in the US not many does. OR should care about it. Cause I'm first a supporter of the idea that if a media is not capable to give all the informations in like the Movie, you the audience should not have to pay for more. So basically the Novelitation are cool but also a scam)

That's all I had to say about it.

Hoping any of this uphere is comprehensible. If in the end I only sound like a rambling idiot I accept it. This movie is too stupid to be too mad about it.

I'll just ignore it