#I do want some art too but quote should be main focus

[strawberry-jackalope]

it's almost time to get my cap and gown, so I thought I'd ask you guys to help me pick the cap decor. Quotes from my favorite musicals, movies, songs, and authors, if you want a source, just let me know

if there are any ties, I'll do a round two

[multiverse-sya]

Learning about my paratype first

I've posted this on my dreamwidth first. In order to avoid cross posting in the tags on tumblr, I will be utilizing periods to break apart a word. If you see a . in the middle of a word, it's just to hide my post. I really don't want to do it this way, but at the same time, I only want people in alterhuman spaces to see this.

I connected to vul.cans, before discovering my main pro.toss identity. And I now consider vul.cans to be a paratype despite learning about them first.

To explain what I'm talking about, I will need to start at the beginning. About ten years ago, before I knew anything about alterhumanity but knowing already that I specifically felt nonhuman or animal,  I remember getting interested in Star.Trek. And although I vaguely knew what pro.toss were at the time, I didn't look too deeply into them even though my thoughts at the time towards them were: "I find them interesting. I should read more about them in the future", and you can guess what happened once I looked into them more closely and looked past their in game appearances. Although I was always interested in science fiction, I feel that getting into Star.Trek made me look into the genre more closely in general. And as I was watching the movies and series, I began to develop an attachment to vul.cans.  So when I first looked into Sta.rcraft, the knowledge I pulled from to understand the historical events and telepathic abilities were from the vul.cans.

In hindsight, they do have some similarities with pro.toss, even though you'd think of klin.gons first, since we were considered a warrior race as well. After all, one of the quotes from a pro.toss unit in Star.craft 1 based on a klin.gon warcry: it's a good day to die. But I can't clearly make sense of why I developed this connection with vul.cans, and near zero with klin.gons, past the honor components. Maybe I latched to them because of my anxiety at the time, and wanting to be able to control my anxiety (an issue I still struggle with and will always have to). Or my brain truly made some barely remembered connection to them based on what it knew about my life as a pro.toss, which I believe I've had since birth, or both.

I became so interested in their desert world, their culture and history, and I even began to learn the language. I recently went back to trying to learn the vu.lcan language and figured out that I still remember some of the basic grammar and vocabulary rules after nearly an entire decade. I don't know it fluently but I can pick apart grammar and verbs in a sentence, to the point that I consider it my third language. A few years later, I'd go on and try to learn the pro.toss language (called kh.alani), which there are only a few translated phrases on. To make life harder for me, there is apparently a real life kh.alani dictionary that the franchise uses, but it's not public. So I have to use my own imagination. My mind seems to be pulling on what it remembers about learning about vu.lcan and tries to construct it onto the pro.toss language, because it sees a similarity between the two. Now, there isn't anything inherently spiritual about that, it's just interesting that it's where my mind goes to, instead of pulling from the other languages I know much better. Although there are some similarities in word structure and sounds between the two. It could be that my brain also sees similarities and has an easier time remembering both of the languages that way.

I believe the passerby will look like phrases from the same language, but the first one is in kh.alani, the second is in vu.lcan:

"Ki nala atu.m...na adan saiosh." "Ki'sarlal nash-veh gla-tor du."

Despite how human vul.cans look, they are similar to pro.toss in a few ways. Mostly, we are both telepathic and have a focus on the mind and on mental abilities a little bit more than humans generally do. Control, practice, discipline and a focus on martial art skills are all things that they have in common and resonates with me. Vul.cans culturally have a great respect for privacy and although this isn't an entire species specific trait for the pro.toss, it is also important in ner.azim culture, a certain pro.toss group that I will talk about later. We also ironically, have a very similar history of bloodshed. I still recall that my first thought when I went through pro.toss history in the fandom wiki was something like: "Huh. So they went through that vu.lcan thing too", even though the outcome was the EXACT opposite of what the pro.toss had done back then.

To summarize to those who don't know, vul.cans had a very violent period in their history and were close to destroying themselves. But then along came S.urak, who managed to bring peace and discipline by teaching the importance of logic and the control of your emotions. Contrary to what most people believe about vul.cans, they experience emotions at a greater level than humans do, though they are forced to suppress them through practice and discipline. Vul.cans aren't born logical and emotionless, it's learned through practice. Although I personally don't think suppressing them is a healthy long term solution. Now prot.oss on the other claw, also went through a violent period of history where they went back to the stone age from all of the wars they fought with each other. And then came Kh.as, who fills the same literary role as Su.rak. Only instead of bringing logic, he brought a giant crystal that connected all of the pro.toss through an emotional link. There, hiding your emotions and thoughts were very difficult. A group of pro.toss, the nera.zim, severed themself from this link for the sake of privacy and individuality, which is a group I'm a part of.  But to put another wedge into things, there were also a group of vul.cans who despised Su.rak's philosophy and left. Those became the rom.ulans, which I don't really have any strong feelings towards. I think this is because rom.ulans took on an adversarial role throughout the story lines but the ner.azim weren't presented as evil, just as wanting different things.

(I can't be the only one who sees these similarities)

As a note, my memories are often pretty reliable, and go to great lengths to make sure I remember everything correctly and am not applying what I know now to the past. But I'm sure that despite that, there might be additional details that I'm missing such as more of my specific thoughts when I was learning about vul.cans.

As I mentioned once, I picked the name 'Sya' while learning the vul.can language on a forum. And I ironically decided to stick with the name 'Sya' when I started out in the therian community in 2017, completely oblivious about my pro.toss weirdness at that time.

[fortuositywritings]

Netflix and Chill

Part 2 of New Resolutions

You asked for it and voila. WandaxReader, oblivious!reader 

Summary: Wanda asks you to Netflix and chill and you do what you do best - misinterpret everything.

“Kate is multifaceted. Very talented, but I���m sure she’ll brag to you all about it. Anyway, could you show her around the compound? I have some stuff I need to do,” Clint asks.

“Oh, yeah. Of course,” you agree. “Let me just text Wanda and let her know I’ll be a little late to our date tonight. We’re gonna watch a movie.”

“I still can’t believe this is a thing. What movie are you going to watch?”

“I don’t know. Wanda said we’d just chill in her room and watch Netflix. Do you have any suggestions?” you ask innocently. 

Clint chuckles, “Yeah. Put on the performance of a lifetime.”

“Oh, I haven’t heard of that one. Is it a drama?”

“What? No,” he shakes his head disappointedly. 

“What’s going on here? Why are you shaking your head at Y/N?” Sam appears. “Did she fall for uhbish again?”

“What’s uhbish?” You fall right into that one.

Sam cracks up. “That’s what I’m trying to find out!”

You glare at him, realizing what he did there while Clint shakes his head again. Sam’s laughter dies down and he asks again. “No, but seriously, what did I miss?”

“Wanda invited Y/N to her room tonight to ‘watch movies’,” Clint says suggestively.

“Why are you doing air quotes?” you ask.

“Oh, Y/N,” Sam sighs. “There’s not going to be any movie. You better have some good music queued up. Depending on how tonight goes, Wanda decides whether or not you two should continue dating.”

“What?”

“I don’t know how much clearer I can be. She wants to do it with you,” Sam emphasizes. “You got to bring your A game. Here’s a tip, the louder she is the more she’s enjoying it.”

“That’s not true,” Clint mutters. 

“So tomorrow she better not be able to speak,” Sam tells you. “That’s your goal.”

“Oh, god. I didn’t know this is what we were going to do.” You rub the back of your neck, trying to calm yourself down. 

“You freaked her out, Sam. Good going,” Clint chides Sam. “Y/N, don’t listen to him. This is supposed to be fun. If one of you gets nervous, let the other person take the lead.”

“Oh, that’s good. Yeah. You should take the lead. A lot of girls like it when you are confident,” Sam advises. 

“Okay, yeah. I can start it I guess,” you voice. 

“That’s the spirit. Make us proud!” Sam exclaims. Clint pats your back before he and Sam leave you riddled with nerves in the hallway. You were just planning on watching a movie with Wanda tonight and now Clint and Sam are saying that she’s expecting something else from you. How are you supposed to prepare?

You show Kate around the compound answering her many questions about the Avenger life and finish the tour in her room where she asks more questions. Half of the boxes in her room are unpacked. Wow, she has a lot of trophies. It had taken you less time than you thought giving Kate the grand tour much to your displeasure because it had taken your mind off of tonight and now you are thinking too hard about it. 

Kate notices you biting your nails and asks, “Are you okay? You seem anxious.”

“Sorry,” you apologize, pulling your hand away from your face. You clench your fists to not be tempted to bite your nails again. “It’s nothing.”

“Are you sure? Maybe I could help, if you want to talk about it?” she offers.

Looking at her trophies, you think maybe she can help. She seems to know what she’s doing and is a champ at everything. “You have a lot of awards. What are some things you are good at?”

She discloses her impressive repertoire. “My main focus is archery, but through the years I did a lot of things. There’s fencing, gymnastics, several sports, mixed martial arts. I learned Krav Maga.”

“Oh, I always wanted to learn a new language,” you say.

“Krav Maga is a style of fighting,” Kate informs you.

“No, yeah, I knew that.” Kate doesn’t quite believe you but you continue on, “So you know a lot. Maybe you can help me. See I’ve got to impress someone tonight and I need some tips.”

“Um, yeah. Sure. What are you trying to do?”

“I need to find the right song,” you answer. 

An hour later, Wanda is waiting in her bedroom for you. She has Netflix pulled up on her television and snacks on her night stand, nothing that would get too messy. Her bedsheets are nice and clean. There is a lit candle in one corner of the room. She is fresh and showered and shaven. She is just waiting for you to knock at her door. 

Knock, Knock

And there you are. She gets up from her bed, giddy with excitement. Of course she’s a little nervous but she’s ready for this with you. She fixes her outfit and fluffs her hair before opening the door. 

“Hello, Y/N,” she greets you with a bright smile.

“Hi, Wanda,” you reply with your own timid smile. She ushers you into her room and you have a hard time taking your eyes off of her. So much skin is on display. She’s wearing a tank top and some lounging shorts that show off her long legs. Wanda smirks seeing you checking her out. 

“I’ve got to be honest. I’m kind of nervous,” you admit. 

“Oh, you don’t have to do anything you don’t want to do. I don’t want you to feel uncomfortable,” Wanda says sincerely. She’s a bit disappointed but if you aren’t ready, then you aren’t ready, and she is going to respect it.

“No, I can do it. I just don’t want to disappoint you. I’m not very good at this,” you confide sheepishly. 

She takes your face in her hands and looks you in the eyes. “Hey, I won’t be disappointed. I promise.”

She kisses you tenderly and the nerves dissolve. When she pulls away you whisper, “Okay, I’m ready.”

“Yeah?” she asks, with an excited smile.

“Yeah,” you confirm. “Go sit over there.”

You point at the bed and Wanda follows your order. She guesses you’re taking charge and she is more than okay with that. 

“Do you have a speaker?” you ask. She points to one by the candle. She didn’t think you would have a playlist for this but alright. While you are setting up the music, you tell her, “Before we start this I have to warn you it may be a little rough.”

Her eyes widen at that. You continue, “Usually I’m drunk when I do this. It’s usually better like that but that may just be the alcohol making me believe that.”

That concerns Wanda. She voices, “That doesn’t seem right, Y/N.”

“I know, I know. It shouldn’t take alcohol for me to do this with people. People do this all the time sober. I guess I just feel like people are always judging and I can’t enjoy it when I think someone is giving me a score in their mind,” you state. 

“I don’t want you feeling that way here, okay? You are perfect to me and I don’t want you thinking otherwise,” Wanda insists. “And if you don’t want to do this right now, I can wait.”

“No, I’m ready,” you say. “I spent the whole last hour practicing with Kate. I’m all warmed up.”

“What?!” Wanda hollers, but you don’t hear her over the music that started playing. 

Wanda recognizes the song. It’s “Fallin’ For You” by Colbie Caillait. What she doesn’t notice is that it is the karaoke version but that’s because she’s too wrapped up thinking you just hooked up with Kate before you came to Wanda’s room. 

“I don’t know but I think I may be 

Fallin’ for you, droppin’ so quickly.

Maybe I should keep this to myself.

Wait until I know you better.”

You are trying your best to not sound pitchy that you don’t realize Wanda is very upset at the moment.

“I am trying not to tell you

But I want to

I’m scared of what you’ll say

And so I’m hiding what I’m feeling

But I’m tired of holding this inside my head!

I’ve been spen-”

You stop when you hear the music stop playing. You see Wanda by the speaker and she looks mad. “What’s wrong?” you ask worriedly. “Oh, god. Was I that bad?”

“What the hell is wrong with you?” she hisses. 

“I know I should have picked my go-to karaoke song but Kate said I should pick one that makes me think of you and that was it. I told her it wasn’t really in my range and that one hour of rehearsing wasn’t going to change that but she insisted,” you explain. 

Wanda’s anger turns into confusion. Her eyebrows furrow as she tries to get all the facts. “Wait, so the hour with Kate practicing, you were just singing this song?”

“I mean, I also tried ‘Sexy Bitch’ but she said that one wasn’t as romantic and you would like this one more,” you recount. “I see now it was a mistake.”

Wanda shakes her head. “No, it wasn’t. It’s sweet, really.”

“Then why did you get mad?”

“I thought you and Kate, you know,” she looks away. 

Your eyes widen with realization. Wanda got jealous. “Oh, do you not want me to duet with anyone but you?”

“I know we haven’t talked about it but we’ve been dating for like a month now. I think that warrants exclusivity,” Wanda mumbles.

“How about a compromise? I mean it’s asking a little too much to not sing with other people, so how about I will only sing romantic duets with you?”

Wanda realizes you two are not having the same conversation. “Y/N, I meant I thought you and Kate slept together before coming here.”

“Like sex?” you whisper scandalously. 

She rolls her eyes. “Yes, Y/N. Sex.”

You gasp, “What? I wouldn’t do that to you. I haven’t slept with anyone since I liked you which was, like, the day we met. Your face ruined sex for me.”

Wanda raises an eyebrow at you and you’ve learned this is a sign that you’ve said something wrong, so you retrace your steps. It’s something you’ve been doing this month with Wanda. “Sorry, what I mean to say is after meeting you, I didn’t want anyone else and anytime someone tried something, your face would pop in my head and they weren’t what I wanted.”

She nods, satisfied with your correction. 

“You couldn’t ruin sex for me if you tried. Actually, I take that back. You could do anything you set your mind to,” you tell her. “You would just have to try really hard for that cause sex with you would be awesome, no doubt.”

She’s quiet and you think you’ve said something wrong again. “Sorry, I meant it would be an honor to make love to you and I wouldn’t take the opportunity for granted?”

Wanda blushes and looks at you in awe. There is no way you are real. One way to find out. She pulls you into a kiss. When she pulls away, you are smiling, happy she isn’t upset anymore. 

“So, do I finish the song, or do you want to sing next?” 

Wanda decides sleeping with you tonight wasn’t on the table. You deserve something better than her suggesting ‘Netflix and chill’. When the day comes, she would make it special and make sure you knew exactly what to expect. 

“You practiced for so long. I want to hear you sing it,” she says, handing you your phone to replay the song. She goes back to her bed, sits down, and grabs a snack to watch you perform. You have a fun night singing with Wanda. You even invite Kate via text. Natasha joins in after she knocks on the door asking why you are butchering her favorite song. Being in the room next door, she could hear the three of you belting out the lyrics. 

The girls get tired around one in the morning. Kate and Nat leave, but not without Kate taking the leftover snacks with her. You help Wanda pick up her pillows scattered all over the room from Kate’s last song. She had put on a whole performance, jumping on Wanda’s bed, pretending it was her stage. 

“Tonight was really fun. I don’t know why I was so nervous,” you tell her as you fix her bed.

“Oh, leave it. I’m about to go to sleep anyway,” she croaks. She places her hand over her throat. “My voice is gone.”

“Then I call tonight successful,” you chuckle. Sam will be proud tomorrow when you tell him. “Do you want me to get you something from the kitchen? I could make you some tea if you want?”

“No, that’s okay,” she declines, getting into her bed. “Thank you for offering.”

“Yeah. Okay, I’ll let you sleep,” you announce. 

“Y/N.” You turn around. Wanda pulls the covers from next to her. “Will you sleep with me?”

You gape at her and stammer, “L-like sex right now?”

She palms her face. “No, like falling asleep next to me.”

“Oh, yeah. Duh,” you chuckle in embarrassment. “Of course I will.”

You take your shoes off and basically run to bed, excitedly pulling the covers over your body. Wanda smiles at your goofy antics. You feel your heart skyrocket when she cuddles you. 

“We should Netflix and chill more often. It was fun,” you suggest.

“Hey, Y/N?” Wanda whispers.

“Yeah?”

“What do you think Netflix and chill means?” she asks. You feel her lips upturn. 

“It means singing, doesn’t it?” you answer.

“Who told you that?”

“Sam and Clint. They were all like ‘you’re not watching any movie’ and ‘you need good music’ cause I guess this decides whether you will keep seeing me or not,” you reply. “But I’m glad they told me or I would have totally been unprepared tonight.”

Wanda tries not to laugh at that. The night did not go like Wanda planned. It’s not all bad though because it ended the way she wanted it to, with her in your arms. “Good thing they did that.”

“So, did I do okay? Will you keep going on dates with me?” you ask nervously.

She smiles and pulls away to lean up and kiss you. “You did great and since you asked so nicely, yes, we can keep seeing each other.” She cuddles you again.

“Awesome. Good night, Wanda,” you murmur, falling asleep. 

You wake up to kisses from Wanda. You smile feeling ridiculously happy that Wanda is the first thing you see in the morning. Your arm is numb from having Wanda’s weight on it all night but it is worth it. She looks like an angel. 

“How are you real?” you ask, entranced by her beauty. 

She blushes, rolling her eyes playfully at you. You aren’t known to be quick witted, but Wanda’s found out you can be damn smooth sometimes without meaning to be. “That’s cheesy.”

Her voice is still gone, but it isn’t as bad as when she fell asleep. You hop up from her bed. “That’s it. I’m going to make you some tea. Or do you prefer coffee?”

She doesn’t want you to go but coffee sounds really good at the moment. “Coffee, please. I’ll meet you in the kitchen. I’m just going to change.”

You enter the kitchen whistling a happy tune. Sam, Clint, and Steve are in the kitchen already. You greet them as you make your way to brew some coffee. “Good morning!”

“Sure looks like it,” Sam comments, making Clint chuckle. “How was last night?”

“It was awesome. I don’t know why I was so nervous. She told me I did great,” you inform him. “By the end, we were so tired, I think I fell asleep in the middle of a conversation. The only thing is my arm is kind of sore. Hopefully next time I get to be on top.”

“Okay, we don’t need the details,” Clint says.

“Hush, Barton. Let the woman speak. You were saying, Y/N?” Sam gestures for you to continue. Clint shakes his head at Sam and Steve wonders how the hell he ended up in this conversation. 

The coffee is ready and you pour some in a cup for Wanda. You know how she takes it already so you prepare it the way she likes. You continue, “I was nervous but I took the lead like you guys suggested. I thought Wanda was mad at one point, but it turns out it was something else and she let me finish.” 

“Yeah, okay. I’m tuning you out,” Clint grunts. He turns off his hearing aid but realizes his good ear is facing your direction. “Damn it.”

Wanda walks in then. “Morning, everyone,” she tries to say but it comes out more like a whisper. Sam’s eyes light up at this fact. “Sorry, Y/N. I have to take that to go. I forgot I have to meet Bruce.”

“That’s okay. I’ll see you later.” You smile and hand her the coffee. Wanda kisses your cheek before heading off. 

“Damn, you actually did it! For your first night together, that’s impressive,” Sam exclaims. 

Steve makes a face. “That’s what that was? I couldn’t sleep with all the thumping.”

“Sorry,” you apologize. You forgot that Steve’s room is one floor beneath Wanda’s. “Kate got over excited.”

Clint chokes on his breakfast. “Kate was a part of it?!”

“Oh yeah. She was like the star of the show. You weren’t kidding about her being talented at, like, everything. She got the last one and boy did she make a mess,” you reply, before taking a sip of your own coffee. 

“Oh my god!” Sam is eating this like hot gossip. “Why was I giving you tips? Clearly you know what you are doing.”

“Please stop talking,” Clint begs.

Steve’s face is flushed. “I don’t think you should be telling people this, Y/N. It seems private.”

“What do you mean?” you ask, not understanding how a karaoke night is a private thing. 

Your question goes unanswered because Nat interrupts. “Hey, guys. What’s with all the faces?”

She serves herself cereal while Sam answers. “Y/N is telling us about the wild night she had.”

“Oh yeah. That was fun. We should do that again, Y/N,” Natasha requests. All the men’s jaws drop. 

“You were there, too?!” Steve gasps. 

“Who wasn’t there?” Clint asks sarcastically, not actually wanting an answer.

“I wasn’t. That’s for sure. Did Wanda send a group text and not include me?” Sam quips.

“Jeez, it’s not a big deal. It just happened. My room is next to Wanda’s and I obviously heard them, so I popped in to show them how it’s really done,” Nat explains. 

“Nat was a total rockstar,” you praise her to the others. 

“Oh, that was nothing,” Nat replies.

“NO seriously. The breath control you have, it’s impressive. You guys should see it!” you tell the guys. 

“I’d really rather not,” Clint mumbles.

“Oh, I know! We could do it again tomorrow night. Yelena and Bucky will be back from their mission. I know they would be down. Oh, I would kill to watch them duet,” you add, excited just imagining what song they would sing.

“That would be fun to watch,” Nat agrees. The guys stare at her, bewildered at how nonchalantly she answered, eating her cereal. 

“That is just wrong, Nat,” Sam states.

“What? It’s Yelena and Bucky. You’re not curious to hear what they sound like together?” she asks.

“No. No, I am not,” Sam replies. 

“Oh, come on. Trust me. Once you get into it, it’s a lot of fun. We can even have drinks. Clint, I’ll get that beer you really like.” You try to convince them.

“He’s married, Y/N,” Steve says, shocked you would invite Clint to do this sort of activity.

“The more the merrier! You can invite her, Clint,” you offer.

“Yeah, that’s not going to happen,” Clint assures you.

“I knew stuff went down at girls’ slumber parties. Didn’t I tell you, Steve? Now they’re trying to have a giant ‘slumber party’ in the compound,” Sam blurts.

“Why did you air quote slumber party?” Nat asks.

“Because we all know what it really is. We know there won’t be any sleeping,” Sam responds. 

“Yeah, because it’s not a slumber party,” Nat says, like it’s so obvious. “But I mean, if you end up on the couch then whatever.”

“Woah, no, no, no. No one will be doing anything on the couch. Steve, you’re the captain. Tell them they can’t use the living room,” Clint demands.

You and Nat look at him in confusion, wondering why he is so against you using the living room.

“He’s right. You guys can do whatever you want behind closed doors but we don’t need to see it in the living room,” Steve declares. 

Nat finally asks the question, “What the hell do you guys think we are going to use the living room for?”

“Your little sex party,” Clint replies.

You choke on your coffee and Natasha is trying not to laugh, especially at Clint’s wording. “Why in the world do you think we are planning an orgy?”

“Because that’s literally what you are doing!” Sam bellows.

“We are planning a karaoke night,” Nat informs him. “We had a lot of fun singing last night and we thought it would be fun with everyone.”

“OHHHHH,” the men say in unison.

“Why would I want to watch my sister get it on with Bucky?” Nat asks incredulously.

“You agreed with Y/N that it would be fun to watch them do it,” Sam says.

“Du - et, Wilson. As in sing together,” she clarifies.

“Yeah, that makes more sense. So you didn’t have a foursome?” Sam asks.

“No, we were just singing. What gave you that idea?” 

“Y/N said Wanda and her were going to have sex, and then we hear that you and Kate were there too and talking about how talented she is and your breath control, we assumed,” Sam explains. 

You splutter, “Wa-wa-wait! I never said that.”

“Yes, you said Wanda invited you to Netflix and chill,” Clint remembers correctly.

“Yeah, and then you guys told me that meant singing,” you tell him.

“We didn’t say that,” Sam tells Natasha when she gives them a look, thinking they might have just been messing with you.

“Yes, Clint said to give a good performance and to take the lead and Sam said to pick good music and even said Wanda wanted to duet- oh.” You stop, figuring out how this got messy. 

“I think the lesson here is that everyone needs to learn to enunciate more clearly,” Steve comments.

“This was a great way to start my morning, guys. Thanks for that,” Nat says, washing her plate. 

The men get up as well. One by one, they wash their plates and then leave. Nat is the last. Before she is out of earshot, you ask her, “So what does Netflix and chill mean?”

“Look it up,” she smirks. You pull out your phone and do that. You nearly flip the table when you read the definition and realize what you missed out on last night.

Despite already being in another room a hallway away, Nat hears you yell in frustration, “ARE YOU FUCKING KIDDING ME !!”

She shakes her head. “Tsk, tsk. Oh, Y/N.”

__________________________________________

I hope you liked part 2. There may be a part 3 just because when I was coming up with ideas, I came up with a lot and this one just got out of hand.

taglist: @scarletswandawitch @imdreamingblo @anxietyisgreat @xxromanoffxx @romanoffomixam @diaryoflife @natashasilverfox @harleyswanda @olsensnpm @chaekhan @dumpaccdontmindme

[writing-with-olive]

How to write essays fast

I've been writing a lot of papers, so that's what's on my mind.

So this mostly applies to your standard 5-paragraph paper, though it's fairly straightforward to adapt it to longer (or sometimes shorter) assignments.

One of the main things to note is that essays are VERY formulaic, so knowing the formula and being able to write down your ideas in a way that fit into the formula is probably the number one way to get stuff done fast. Because of that, most of what I’m covering is breaking down the formulas so they’re more accessable.

Also this got very long. If there’s anything you want me to expand on just let me know in the comments or send me an ask/DM and I’ll make another post that goes more in-depth about it.

Structure (I hate this step, so I’ve figured out how to do it very fast becuase it’s still important)

The first thing to consider is prewriting and structure. To start, there are two major paper structures I usually consider. The first goes

Introduction

Main point #1

Main point #2

Main point #3

Conclusion

This is good if you have a lot to say on the topic, or if it's something closer to a summary essay where there's not really an opposing side. In something where there are distinct sides, (or if you have less to say to support your own side), you may want something that looks like

Introduction

Main point #1

Main point #2

Why the other side is wrong

Conclusion

The "why the other side is wrong" side is involves thinking through the MOST credible arguments the other side might make, and methodically breaking them down to show how they don't work. The stronger the argument you choose, the more effective this is.

Since I personally hate prewriting with a passion, I usually do this step very fast and end up with an outline that looks like

Intro [insert thesis statement]

P1: [three word summary]

P2: [three word summary]

P3: [three word summary]

Conclusion

(thesis statement, introduction, body paragraphs, and conclusion tips are all below the cut)

Usually, this is enough so when I look at my outline, I can see what I'm trying to focus on for each paragraph - and do so without straying from my main point.

For the prewriting, the main things to do are identify with basic structure of the two will serve your purposes better, and write a thesis statement that solidly supports your argument.

Thesis Statement

There are so many guides about creating thesis statements that are powerful, but I'm just going to quickly go over how to be fast about it.

The first thing to know is that a thesis statement is usually a complex sentence: it's your entire essay distilled down to a single line. The general formula I follow goes something like this:

"In their [media type] [name of specific piece], [creator's full name] explored/demonstrated/other verb [theme you're going to be arguing about] demonstrated/using/as evidenced/as shown by [example 1], [example 2], and [optional example 3]."

For example, a thesis statement that follows this format might go

“In his short film Job at Place, David Davidson explored the manifestations of human stupidity through the absurdity of the main character’s home, school, and office.”

Or, if you're writing a historical piece, it might look something like this:

"In [place/time period], [thing you're arguing was happening]: they had to/the conditions were such that/other thing to set up a list [example 1], [example 2], and [example 3]."

For example, a thesis statement that follows this format might go

“During the Tusken Invasion of 32nd century Tatooine, it was the lives of the children that were most affected, from their social development and connections with others to more personal struggles they didn’t yet have the tools to overcome.”

The examples you give are going to correlate to your paragraphs - example 1 is for body paragraph 1, and so on. 

Introduction

I like to think of the introduction as a funnel that gets more and more specific.

First, write a broad statement that touches on whatever theme you’re referencing. 

Job at Place is about human stupidity, so something like “while great minds have flourished throughout the ages, so have the not-so-great.”

Tatooine is about war, and about child development, so something like “children’s development has always been impacted by the state of the world around them.” or “war has many effects, many of which impact those not directly involved with the conflict.”

The idea is that it’s a broad statement that can almost be looked at like a universal truth.

Next, you’re going to go deeper - two sentences that narrow down the time and place you’re talking about specifically, and how that time and place fit into your universal statement. 

The fourth sentence gets even more specific - introducing how the thesis sentence fits into your first three sentences.

Then the last line is your thesis statements. 

Body Paragraphs

Your three main body paragraphs all follow the same formula. (I’ll get to the “why the other side is wrong” paragraph in a minute)

The first sentence you’re going to want is a topic sentence. For this, you’re going to want to look at the example you gave in your thesis statement that corresponds to this paragraph, and see how it relates to your central claim. 

If we’re going with the Job at Place example from above, for the second paragraph, you might open with a line like:

“A striking characteristic of Davidson’s short film was the abnormality of the main character’s school, used to showcase exactly what happens when poor decisions get taken too far.”

Everything within the paragraph will then back up the claim you’re making in the topic sentence (which in turn is backing up your thesis). 

For each paragraph, you’re probably going to want about three pieces of evidence, either in the form of direct quotes (plucking words directly from the source) or paraphrased quotes (summarizing what happened in your own words). The quote should be used to directly support your argument.

After each piece of evidence, you’re going to want about... twoish lines of analysis (this number can change as you need it to, but two lines is something solid to fall back to). 

While analysis can take all kinds of forms, one pattern you can use if you’re stuck is

evidence sentence 

what it means

how that meaning ties back into your main point

Following this pattern, a piece of analysis of Job at Place might look like:

“One of the first images of the private school is that it’s a tall spire with creaking stairs and loose floorboards. Despite this, the principal has eight personal cars parked outside on full display. While the first glimpse of the school might indicate that there is little money to care for the structural integrity, the notion is directly negated by the principal’s actions. By using these two images, Davidson demonstrates what can happen to the youth when those in power let greed carry them away.”

After you write your analysis, include some kind of transition phrase, and go onto the next piece of evidence.

The last line of your paragraph is going to transition into the next paragraph while also summing up the main point of what you talked about in the current one. (This line can also get moved down and tacked onto the beginning of the next paragraph, before the topic sentence, but I have found it tends to look less cohesive that way).

You might choose something like:

“While the school was a disaster in its own right, it wasn’t the only example of human folly.”

If you’re writing a “this is why the other side is wrong” you’re going to want to think about the MOST compelling arguments the other side could make. Take the top one (or two), and figure out ways to crack them apart using evidence from your source material.

In this case, your topic sentence might start off with something like

“While opponents might say [insert compelling counterargument], their reasoning breaks down when one takes into account the evidence.”

At this point, you’re going to follow the same formula as above. The main thing to keep in mind is that for the duration of this paragraph, your point is that the other side’s claim of X is wrong.

Conclusion!

If you know what you’re doing, this is actually the easiest part.

(wait, what??????)

The thing is, you NEVER want to introduce new ideas into your conclusion. Instead, you’re summarizing your main points.

The formula I follow per sentence is:

Thesis statement but reworded (you can change the sentence structure too)

Topic sentence for paragraph 2 or 3, but reworded (I’ll explain why you shouldn’t do the sentence for P1 in just a sec)

Topic sentence for paragraph 1 or 3 but reworded

Topic sentence for paragraph 1 or 2 but reworded

Wow sentence or question (i’ll get to this too)

The idea for the middle three sentences is you don’t want them to read as repetitive, so you’re going to mix up the order so it doesn’t match the order of the rest of the essay. This will help to keep it fresh.

The wow sentence is basically the last impression you get to make. I find it’s usually a good idea to go just a tad dramatic (it sounds dumb, but it has never failed me). If I can’t think of anything, a declarative statement on whatever major theme was being discussed throughout the essay usually does the trick.

Examples:

All of this shows that in the absence of friendships and platonic love, humanity will falter.

Fiction may seem far fetched now, but if the world falls into those same mistakes, it’s only a matter of time until it becomes a reality.

Art has existed for as long as humans have populated the earth; it’s not going away any time soon.

A lesson everyone must understand is the most powerful weapon isn’t anything physical or tangeable: it’s the ideas that exist in the minds of those who care.

(I told you they were going to be dramatic) A way I look at it is if you can’t imagine dropping the mic on the last line, it needs to be stronger (yes I found that plagiarized with not even a whisper of credit on Pinterest, but it works).

If you wrote a SOLID essay, consider ending with a question aimed at the reader (this will push your essay in the direction of either the positive or negative extreme: a strong essay will become stronger, a weak essay will become weaker). Questions can be a call to action or rhetorical as a means to drive home your final point. Becuase they’re more nuanced to the content of the essay, I don’t really have great examples to give you though (sorry).

Hopefully this is useful to at least some of you - good luck!

++++

Tagging:@candlemouse

If you want to be added to or removed from any of my taglists (found pinned to the top of my blog) just let me know :)

[ryuuaka713]

Bungou Stray Dogs Dead Apple: “You used corruption, believing in me? How Beautiful.” A “DISSECTION” OF THE SCENE

I mentioned before in one of the posts by @nataliaphantomhivesblog​, where we were discussing about the corruption scenes in BSD, that the scene in Dead Apple is my favorite. So, I decided (like any SKK trash) to make an “analysis” of that scene, just to make a point why I like it the most compared to the other corruption scenes (as if this post is the definition of being productive like I’ll just wasting my time rambling here LOL)

I divided this post into two parts. Part 1 is the more difficult one where I am attempting to write some “character analysis”. While Part 2 is more about how the scene is composed (it’s pretty boring. I’m sorry)

I will NOT include the infamous Lap scene (I know. I know. We all love that moment. But I would rather focus on the scenes before that).

Side note: I do not specialize in film or literary critique, so really this whole post is just for fun. Thus, why I put quotes on the analysis. Take this is as my personal opinion where I’m attempting to make sense by making it sound “fancy”.

But anyway. Here it goes:

In every Corruption scene, the thematic notion is always Trust—as in Chuuya trusts Dazai well enough to use his ability so long as he is present to nullify it. It is a very life-threatening process, especially for Chuuya since Corruption, despite being one of the most powerful abilities, can cause self-destruction the longer he uses it. So, Dazai should keep a close watch on him at all times, and then even giving him a sense of comfort to compensate to Chuuya’s worn-out body and for his efforts. This is the same trajectory in all 5 episodes of Corruption, but out of all of them, what stood out the most (for me) is the scene from Dead Apple. 

This scene has amazed me ever since I first watched the movie. And while it just shows their infinite trust, the whole execution of this scene evokes more than just that thematic concept. What I see in this scene is something that all of us have already witnessed, but there is something unique in the way Dazai nullifies Chuuya’s corruption, and their dialogue may be just them bantering and yet, their tonality is different. It is as if, we just touched a moment that is reserved only for these two and we just happened to have the privilege to witness it. In other words, there is a sort of familiarity (or intimacy) and gentleness going on at this very moment—it is cathartic. This is what I want to look into—like how did we come to this?

PART 1: His Proper Partner.

In the Japanese version, ever since the episode where Chuuya made his first debut, they call themselves “aibou” (相棒), referring to a one-on-one partnership. While “nakama” (仲間)can also refer to a partner, it has a different connotation in which the closest English equivalent of that term would be “comrade” or “acquaintance”. The closest English equivalent of “aibou” is, to no one’s surprise, “partner” (or “pal”). And it makes sense, considering that the first kanji (相) can mean “mutual”, “together”, or “each other”. So, to have Dazai and Chuuya referring to themselves as that, it just manifests their familiarity on each other.

And in their case, their “familiarity” is both their advantage and disadvantage. It is a “disadvantage” because they use it to get on each other’s nerves (both in comedic and serious situations).

However, it also serves to their advantage, especially when they have to cooperate in the battlefield. This comes into light in the Lovecraft Episode where they executed Operation Shame and Toad—Chuuya acknowledges Dazai’s tactical mentality, whereas Dazai (as he referenced Chuuya’s mastery in martial arts) let’s his partner do the grunt work. Interesting enough, this is the same episode we first see Chuuya’s Corruption (but not the first time he uses it).

Using Corruption stipulates that “familiarity”, especially in Dazai’s part who has to be present to monitor Chuuya’s physical state, therefore he is aware, not just the consequence in using Corruption, but also of Chuuya’s limit. This explains why Dazai declares that he is aware of Chuuya’s moves and “breathing pattern”, otherwise, as what he himself says, he “won’t be a proper partner”.

What is witnessed in the Lovecraft Episode is the standard protocol that Soukoku uses when they are at their last resort. So, it is not a surprise that we get to witness Chuuya using Corruption, again, when he saves Dazai in Dead Apple, except it is done differently.

Even though Dazai is ten steps ahead of the enemy, the situation is still risky and even more complicated in Chuuya’s part since he is using his ability WITHOUT Dazai present. And that he has to save Dazai first before he can get it nullified. With that being said, it requires a careful approach, one in which they know the other’s moves—Dazai knows too well how Chuuya would react. For instance, the manga version of Dead Apple demonstrates how Soukoku communicates in their operation using “codes”. As such when Dazai got himself kidnapped, no one knew about his whereabouts until Hirotsu mentions about Dazai buying a microscope (to which it leads them to a dead end). However, Chuuya—upon remembering that Dazai teases that he needs a microscope in order to see him—demands to see that microscope, breaks it, and finds the transmitter. It is a well-planned strategy in Dazai’s part where all it takes is to leave helpful clues for Chuuya to pick up and catalyze the operation. In the Dead Apple movie, he does it again:

Indeed, for the audience, it is not new to see Dazai planning ahead and having ulterior motives behind his actions. It is not new to see Chuuya executing his plans and understands his motives either. But seeing these two working together despite those four years of absence, and without physically communicating is beyond human comprehension. Almost like the microscope scene, Dazai is not there to directly tell him about his plan. Chuuya doesn’t know about the antidote until that punch as his only “clue” is that Dazai is working alone, so he sees that something is amiss.

Seeing the critical state of Yokohama, Chuuya knows that he will use Corruption, but seeing Dazai’s corpse, it gives this uncertainty on whether they can make it out alive or not. And yet, what did Chuuya do? He jumped off the plane and activates his ability, knowing that there is “no time to chicken out” or else Dazai’s plan won’t work, and they’ll end up dead. Even if it means doing the job to protect the city, it still takes guts for Chuuya to work and place his life on someone he “hates”. Despite those 4 years of absence, the scene in Dead Apple just manifests that they never doubt each other’s capabilities. And to further validate this, let’s check out their dialogue:

           Dazai: You used Corruption, believing in me? How beautiful.

           Chuuya: Yeah I did. I believe in your disgusting vitality and craftiness.

           Dazai: That was a somewhat violent way to wake up Snow White.

           Chuuya: Tch. You���re the one who hid an antidote your mouth knowing I would punch you.          

Not only does this scene perfectly parallels to the Lovecraft episode where we see Soukoku bantering while still in a critical situation, it also emphasizes the degree of their trust and how that trust has taken root from their familiarity.

Dazai: You used Corruption, believing in me? How beautiful.

Chuuya: Yeah I did. I believe in your disgusting vitality and craftiness.

Dazai’s first line is the main idea of their partnership, echoing Chuuya’s quote from the Lovecraft episode: “I used Corruption because I trust you”. This is a vital aspect in their relationship since it has been stated before in Fifteen and Stormbringer that “no one has trusted Dazai”… until Chuuya comes into the picture. Ever since their first teamwork against Rimbaud, Dazai finally has someone he can rely on both in strength and assurance, even smiling at the fact that Chuuya doesn’t even deny his proposal but merely asks for his reason.

With that being said, then it is appropriate for Dazai to say that line, touched by the idea that Chuuya still constantly trusts him. It just reminisced so much from what they have as children that it seems to this day, they never forgotten about it.

On the other hand, in Chuuya’s end, he confirms that trust and provides a reason, which is appropriate since Chuuya is Dazai’s “reason-living” like in Fifteen:

Chuuya’s line—“I believe in your disgusting vitality and craftiness”—is very similar in the excerpt from Fifteen, and this just shows how that line from the movie indicates his familiarity to Dazai. By “familiarity”, I mean that he knows his partner’s mental process and motives (as I have mentioned above). In this case, it seems like Chuuya has seen something that he and Dazai have in common: the desire to live. Of course, the latter always craves for death, but with his new viewpoint on Death, his mission in fulfilling Oda’s wish, and the fact that he is tethered to someone who wished to live, Dazai just couldn’t die. And Chuuya, being his constant companion, knows this. This is why Chuuya “believes” that whatever plan Dazai has on mind, it will always work, and in the scenario in Dead Apple it starts by taking a leap into Corruption—which is ironically, the very thing that could kill Chuuya, and by extent, would cause Dazai’s death if the plan is not well-thought or if they don’t work together. By referring to his “vitality and craftiness”, Chuuya is acknowledging his familiarity on Dazai, admitting their “rotten relationship”, and justifying his trust on him.

Dazai: That was a somewhat violent way to wake up Snow White.

Chuuya: Tch. You’re the one who hid an antidote your mouth knowing I would punch you.

Another interesting thing I find in the dialogue is Dazai’s line: “That was a somewhat violent way to wake up Snow White”. Fans think that this is Dazai flirting, where he is implying that he wants to be kissed by Chuuya the same way the prince does to Snow White. For me, I think this little dialogue is more than just fanservice since it makes sense, not only in the context of the movie containing motifs of a “poisoned” apple. I think the reference of the fairytale in this dialogue not only foreshadows his “death”, but it also highlights their dynamic whenever they work together with Dazai acting childish and Chuuya knowing that he is actually being serious (or the fact that he cracks some jokes in most Post-Corruption scenes). This is still related to the whole “familiarity” theme that I have been rambling about; as mentioned before, Dazai and Chuuya would use whatever they know about each other just to rile each other up. These moments are generally meant for comedic effect, but these teasing and bickering can serve as their advantage.

Similar to the microscope scene I have mentioned, Dazai makes that microscope comment seem like a childish joke on the surface, however, Chuuya picks this up as a clue and sees his real motive. This kind of synergy is seen again in the prologue of the movie where Dazai jokes about Chuuya getting hit by bullets when he is in close range of the enemy, and yet, the latter takes it as a warning that an ability-user is nearby. We really don’t know if Dazai leaves a Snow White-related clue for Chuuya before the events in Dead Apple (it would have been pretty cool tho), but that dynamic in the microscope incident and prologue is very similar to that dialogue we see in the movie: Dazai is being playful, but Chuuya sees and calls out his ulterior motives. This is how Soukoku works!

PART 2: The Art of Catharsis

The relationship of Soukoku in the battlefield is one of the best teamwork we have seen in the anime. Both parties are synchronized in the way that Dazai’s brains and No Longer Human, and Chuuya’s fighting skills and Corruption perfectly compliment each other. Moreover, we also see the basis of that partnership, and this is something that the creators want to highlight in this scene (in other words, how did the animators deliver this dynamic?)

In my opinion, I think the words “gentleness” and “cathartic” fit in this scene. To start off, before this moment takes place, we have witnessed Chuuya fighting the Dragon.

That scene was intense! Chuuya activates Corruption, generates into pure destruction with him yelling Dazai’s name (despite the fact that he is not supposed to be in a proper mindset). The way this scene plays out is interesting; in the shot, we see the two main figures (the Dragon and Chuuya) mostly in red—which is a very vibrant color—in contrast to the blue and green background. By using the color that pops out, the attention is on them, and it is topped with the amount of action in that moment. Not to mention, the background music, containing a rock music and a rap, elevates that energy. It is a scene that heightens the adrenaline, so the audience can empathize with Chuuya—understanding him as a character that is full of life, and also his hastiness to kill it before he runs out of time.

When that fight is over, we notice that the music alters into a string orchestra. This is a very good change because the tempo is slower—a direct contrast to the rap music—as if it is slowly bringing the audience down from the hype in the fighting scene the same way Chuuya slowly goes down and hovers Dazai’s body. The music immediately stops right on cue when the punch happens, then the audience is left in silence. Usually in films, silence is used for the purpose of anticipation. In this case, the anticipation is placed on whether Chuuya’s punch and/or the pill worked and saved Dazai.

The transition from the white background into a blue background should indicate that Dazai is alive. And yet, the animators did this subtly rather than showing Dazai’s face (like in Season 1 episode 1), just so the audience is still in the state of anticipation (add that with the white noise in the background). Furthermore, there is a fairytale quality in that shot, like this is similar to when Sleeping Beauty (in this case “Snow White”) wakes up, that’s when the colors in the castle come back.

Getting close to that iconic shot, I love how the animators keep the “camera” in the same place (Chuuya’s face), that way we can further empathize with Chuuya by seeing a close shot of his state: he was at his limit! But as soon as the blood starts moving away from the screen, we can see a bandaged hand moving to his face. And then, finally!

Words cannot describe how much I appreciate the details of that scene, especially on Dazai’s gesture. He moves his hand slowly but quick enough to nullify him right on time. Not to mention, he does not just touch his cheek but rather cups it (look at the shape of his hand!). One can say that the gentleness in Dazai’s gesture is the exact opposite to Chuuya’s punch, and this sort of contrast further highlights the catharsis in this scene. In other words, after all of that intensity with the fight and seeing Chuuya’s bloody state, it is relieving to see that familiar hand touching him, indicating that Chuuya can rest. And seeing that we witnessed and empathize with him, we know what it feels like.

With that being said, that’s why the third shot above where the hand is fully placed on his cheek and he made a short gasp is my personal favorite. It is the contrast in Chuuya’s face where we can still see “Corruption”, and Dazai’s hand to which he activates “No Longer Human”. I have seen some people complaining about how they want to see Dazai’s face in this scene; personally, I think this scene is animated brilliantly as it is. It is only fair to see a close up of Dazai’s hand to indicate that he is nullifying “Corruption”, after all, “No Longer Human” is works through touch. To top it off, the beauty in “not seeing the face” is more powerful because it leaves more to the imagination—we don’t know specifically what kind of face Dazai is making, but the way that hand moves alone is enough to tell us what he is thinking at that moment. And finally, upon contact, we see Chuuya making a slight twitch—this is when Corruption recognizes No Longer Human and deactivates. This is when Chuuya recognizes that familiar touch and knows that his partner is finally awake, so he can finally rest.

Then we have that iconic shot! Like the one I mentioned above, the camera stays in one place, only this time, it is a long shot, so the focus is on them (thus they are on the middle). Interesting enough, there is no background music in this scene, and we can’t see their expressions. Usually, in this anime, when a character is seen faceless, in order to determine what they are thinking are feeling, the animators would usually make them do a gesture or a dialogue.

In this scene, where everything is silent and their faces “unseen”, our focus goes to their exchanges. Both Mamoru and Taniyama use their “bedroom voices”, and I think it is appropriate considering that their dialogue contains a deeper meaning in regards of their relationship. In other words, as mentioned before, it may seem like another day of bantering, but with their tone, there is something sincere and intimate in what they are saying. Also, the playfulness in Dazai’s comment and Chuuya’s response hits different compared to their other moments of constant yelling. You really don’t need the close up of their faces in order to see that they are at peace in each other’s company.

In addition, the color scheme of the scene is predominantly blue, which makes sense, not just because of Dazai’s ability, but also because it highlights the serenity in the scene. The blue color, the orb, and the bandages that glide silently are animated in a way that they buffer out the red that we have seen back with Corruption, and also indicates a sense of “protection” (which is later seen in the lap scene when Dazai has to protect Chuuya from the fog). In short, the ambiance perfectly fits with how Dazai is there to give Chuuya a sense of comfort in Post-Corruption, letting him rest so that he can compensate for all that he did.

**********

The scene in Dead Apple is something that lies in between of the familiar and the new—we have seen Dazai and Chuuya in this situation before, we know how they function as a team, and we know the level of risk they are taking. But this is something that we have never seen before; like subtleness in his gestures, the softness in their tones, and the fact that these two are in a position where they are saving each other, which becomes part of their instincts. They show how much they trust each other by knowing how much they knew of each other. They acknowledge the fact that their fates are tethered regardless of the years of absence. And finally, it is not just the Prince saving Snow White, but rather: the Prince saves Snow White and Snow White saving him in return.

OK, I just literally fried my brain. If you’ve read this far, I thank you so much for your time! I am so sorry if this is too long. I welcome for any critiques or discussions. So yeah, that’s my ted-talk

[devious-little-milkmaiden]

My process for writing a story outline.

Hello, fellow exhausted, drinking-coffee-at-2-pm writers! Do you struggle with writing an outline? Do you wish somebody would just bonk your head and make you write an outline that is neat, detailed, and creative? Well, look no further! I am going to share with you all an outline template that I have created. I am not going to pretend like this is the best outline method ever made, or that it is absolutely 100% fool-proof (sorry, no head-bonking today), but this is a method that I have developed that has worked for me, and may work for you, too. Also, it makes me look forward to writing my outline :).

Most outlines are started on a Google doc, or word document, or a piece of paper. But, I use Google Slides (or Powerpoint) instead. I like using slides because it allows me to focus on a specific event or detail at a time, instead of just looking at an entrie document as a whole. Anyways, here are my steps to creating an outline, using Google Slides, Powerpoint, or any other slide program.

1. Find a slide theme that fits with the theme of your story.

This step is totally optional, but one way that I find helps me get into the writing zone is a slide theme that fits with the aesthetic of my story. For example, I am using this theme for a romance story in which the main character has depression and the love interest has a bright, sunny, cheerful personality. The blue and gold sort of reflect that. It's small, but it really is quite helpful. SlidesCarnival and SlidesGo are two really great websites for finding free Google Slides and Powerpoint presentation themes.

2. Label your slides with the title of your story, the settings, the exposition, rising action, climax(es), falling action, and resolution.

You know this thing?

Put everything you would put in those boxes into slides. I like to use the section header to label the exposition, rising action, falling action, etc.

3. Within their appropriate sections, detail the different events that happen in your story.

Put the events that are part of the rising action under the rising action title, put the events that are part of the falling action under the falling action section, etc.

Here is an example from a horror story I am writing:

Here is one of the events that happens in the exposition, and some important details that are part of the event. You can also include quotes of things you want the characters to say, memes, images, whatever. It's your outline, kiddo.

4. Create character profiles.

I like to give each of my important characters three slides: One for important details of things they do or how they are described in the story, one for their character profile (facts about them, when they were born, when they died, their occupation, etc.) and one for a moodboard. The moodboard is optional, but I like to create a series of pictures that remind me of the character and fit in with their aesthetic. This is also optional, but I like to create what I think the character would look like in picrew or a drawing. It helps me to visualize the character. Specifically, I use this picrew. It's very diverse, has a somewhat realistic art style, and lets you make fantasy characters. Credit to BAYDEWS on picrew.

Here is an example of a character profile I made for the love interest in a romance story I am writing:

Character Details:

Character Profile:

Character Moodboard:

All my character profiles follow this template:

Born:

Died:

Appearance:

Clothing:

Job:

Personal Relationships:

Psychological Description:

You can omit anything that isn't relevant to the character.

Conclusion: You don't have to have it all figured out, little bro. In fact, most of the time, when I start an outline, it's filled with question marks where the title should be, the character's names, the setting, etc. Using an outline helps me to be organized and keep track of my ideas and what's happening in the story. If you would like to see an entire example of a story outline, here is an outline based on the movie Scott Pilgrim vs. The World. I hope this post helped someone, and happy writing!

[latte-fairytaekwoon]

𝐻𝑜𝑤 𝐴𝑡𝑒𝑒𝑧 𝑊𝑜𝑢𝑙𝑑 𝐴𝑠𝑘 𝑌𝑜𝑢 𝑂𝑢𝑡: 𝑁𝑜𝑛! 𝐼𝑑𝑜𝑙 𝐴𝑈

❥𝐴𝑟𝑡𝑠 𝑎𝑛𝑑 𝐶𝑟𝑎𝑓𝑡𝑠 𝑆𝑡𝑜𝑟𝑒 𝐸𝑚𝑝𝑙𝑜𝑦𝑒𝑒: 𝐾𝑖𝑚 𝐻𝑜𝑛𝑔𝑗𝑜𝑜𝑛𝑔

As a college student, you usually end up having to do a lot of projects that require creativity and lots of paint.

That's how you ended up in an arts and crafts store.

You found Hongjoong behind the counter, finishing up his task of arranging the ribbons on the shelf.

He smiled at you and immediately put his task down.

"How may I help you this evening?"

Knows exactly what you'll need better than you.

Often recommends other materials or throws in a few creative suggestions of his own.

He's always asking you what they're for, he's genuinely curious about your assignments..and even more curious about you.

Sometimes you end up doing some of your posters with him right there on days where there's nobody else.

You purposefully began buying things you didn't even need just to have an excuse to see the blueberry haired male.

He doesn't mind, he likes your company, even if it's strange you keep buying the same red glitter everyday.

One day you came in, and he was excited to show you the new Valentine's Day cards that just arrived.

In particular, this really cute one that played a song you've never heard before but that asked in the end "Will you go out with me?"

You giggled. "It's so cute. Who thought of it?"

Hongjoong smiled even more, holding the card out to you. "I did......it's for you....so what do you say?"

❥𝐹𝑙𝑜𝑟𝑖𝑠𝑡: 𝑃𝑎𝑟𝑘 𝑆𝑒𝑜𝑛𝑔ℎ𝑤𝑎

You really love to gift flowers to your loved ones, feeling that it's a sweet way of saying you're thinking of them.

You frequented a lot of flower shops, but something about this particular one made you want to keep coming back...

And it wasn't just the hot employee behind the counter. Or his super sweet and flirty personality.

It was that and much much more.

You loved the cozy and intricate way the arrangements were always lined up.

They made it a point to change them every week, sort of giving the shop a fresh look each Sunday.

Seonghwa also knew specifically what type of flowers to suggest depending on what it was for.

White tulips for when you wanted to apologize to someone, Hydrangeas to show gratitude, and even Sunflowers to show love to your best friend.

It was always fascinating to hear him speak about what each flower represented.

Just as fascinating as watching him delicately put them together in beautiful bouquets and tie them with a ribbon.

One time you came in and he was very excited to show you a new bouquet he made.

"Ta da!" He pulled out a bouquet with lavender roses as the main focus.

"They're so beautiful Seonghwa! What do they mean?"

"They represented enchantment and love at first sight...ideal for a blossoming romance..."

He grinned as he held them out. "From me, to you."

❥𝑃𝑒𝑡 𝐺𝑟𝑜𝑜𝑚𝑒𝑟: 𝐽𝑒𝑜𝑛𝑔 𝑌𝑢𝑛ℎ𝑜

Getting a chow chow puppy as a pet was no easy task.

Especially when their hair is extremely fluffy and in constant need of maintenance.

Fortunately for you, a nearby pet grooming shop opened up recently.

So you walked, pooch in your arms as you looked at the cozy scene in front of you.

"Hello, I'm Yunho and I'll be assisting you today. And whom do we have here?"

Your puppy instantly took a liking to him, which was rare since he was a big scaredy cat for a dog.

"If my baby trusts him, I guess I have nothing to worry about. "

You really didn't. Yunho was so friendly and knew how to handle dogs perfectly fine.

He was just as playful as them and was very careful when trimming their hair or nails.

So you felt absolutely at ease leaving your child for a few hours with him while you ran some errands or went grocery shopping.

"Hi baby. Were you a good boy today?" You came to pick up your pooch one day.

"Oh they were an absolute gem as always."

You were about to leave when Yunho said. "Hey Y/N...I actually have a dog of my own at home....and they could use a friend.."

"Oh? So you want to arrange a play date for them?" You asked.

He blushed and smiled shyly as he admitted. "Date for them and maybe....us too?"

❥𝐵𝑜𝑜𝑘 𝑆ℎ𝑜𝑝 𝐸𝑚𝑝𝑙𝑜𝑦𝑒𝑒: 𝐾𝑎𝑛𝑔 𝑌𝑒𝑜𝑠𝑎𝑛𝑔

Truthfully, Yeosang frightened you the first time you walked into the shop.

He just stared at you with a cold stare as he warned you to keep quiet in the place.

You definitely didn't want to get on his bad side.

So you just stuck to browsing the shelves, picking out the books you wanted and buying them.

Then after getting more brave, you took advantage of the tables and desks they had inside to either catch up on homework or read what you just purchased.

You just loved reading, especially poetry or sonnets.

You always got so lost in your book, you only realized what time it was because Yeosang tapped your shoulder.

"It's 5 minutes to closing. You should probably go home now."

It became a routine of coming to the shop right after school, curling up on the chair in a back, your nose stuck in a book.

Unbeknownst to you, Yeosang always watched you, took notice of the genres you were fond of. He'd be lying if he said he didn't find you cute and attractive.

You were just as mysterious and quiet as he was, and he was intrigued to get to know who you were.

One day, you came in as usual, waving to Yeosang who just sat by the register.

You sat in your usual spot and noticed a tiny folded letter on the corner. You opened it up and read its contents, a quote from one of your favorite novels:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."- Pride and Prejudice.

You looked up to find Yeosang peering at you from his own book, for the first time, a smile on his sculpture like face as he waited for your reaction.

❥ 𝐵𝑎𝑟𝑖𝑠𝑡𝑎: 𝐶ℎ𝑜𝑖 𝑆𝑎𝑛

Being the coffee addict you were, of course you had to try out the new shop that opened up.

The fresh scent of espresso filled your nostrils the moment you walked in and it was heavenly.

And the barista at the counter was pure eye candy.

And you soon found out he was sweeter than any cinnamon roll or cream Danish they sold there.

"May I interest you in any of our specialty drinks?"

But you were a simple person, you just wanted straight black coffee.

He seemed taken aback and somewhat disappointed at your choice.

But at least you weren't a picky customer that tried his patience.

So you just regularly came to get your straight espresso.

One day he asked "Can I please just try something?"

You couldn't say no to his little pout, so you let him.

You watched as he did your regular espresso shots and looked to be adding some type of cream.

He giddily went back to the counter and held it out to you.

There on the very top, he had created a heart out of latte foam...

And on the cup, he had written his phone number and added the words "call me ;) "

❥𝐷𝑎𝑦𝑐𝑎𝑟𝑒 𝐴𝑠𝑠𝑖𝑠𝑡𝑎𝑛𝑡: 𝑆𝑜𝑛𝑔 𝑀𝑖𝑛𝑔𝑖

You had always been more than willing to help babysit your cousin during summer break.

You adored that child like none other.

But you had recently gotten a job and couldn't watch him all the time

So you opted for the nearby daycare center to help you when you had to work.

The first sight that greeted you was a tall young man who had tussled hair and paint staining his apron.

"Hello. I'm assistant Mingi. How can I help you today?" He greeted you both and then let out an 'ouch' when something hit him from the back.

Feeling safe with the environment, you began taking your cousin every other day to the center and picking him up after your shift ended.

You always saw Mingi there.

He usually helped your cousin with the homework assigned to him over break.

Or he was simply goofing around with him, it was quite endearing to see.

You were content to see the little boy make friends and break out of his little shell.

You came to pick him up as usual. "How was it today? Learned anything exciting?"

"I learned that Mingi thinks you're cute and has a crush on you." He snickered as he pointed to Mingi.

"Hey! Shhhh!! You promised not to say anything!" Mingi laughed nervously as he looked at you rather worrisome.

You blushed and smiled. "It's ok. They think you're cute too Mingi." Your cousin interjected, now exposing you and prompting you two to confess your feelings.

❥𝑃𝑎𝑡𝑖𝑠𝑠𝑖𝑒𝑟: 𝐽𝑢𝑛𝑔 𝑊𝑜𝑜𝑦𝑜𝑢𝑛𝑔

Having the world's biggest sweet tooth was a blessing and a curse.

And right now the biggest issue was finding a new pastry that you had not tried before.

But you had practically gone through all the bakeries in town, knew what they had to offer.

So you decided to stop by a very old bakery that you had not gone to in forever.

And you weren't joking when you said forever, the place had changed so much, you hardly recognized it.

You also didn't recognize any of the people working there, having been a regular before.

You looked through the assorted pastries on displays, hoping to find something to catch your interest.

"Hello there pretty one."

You were startled by the loud voice behind you. You turned to see a cute guy smiling at you.

"Were you looking for something in particular?"

You explained that you were looking for something new or special and his eyes instantly lit up.

He ushered you to follow him to the counter, where he pulled out a tray of peach shaped pastries.

"These are Italian peach cookies, meant to look like actual peaches. Try one and tell me they're not the best thing you've ever tried."

You ate one and your whole mouth was engaged. They were absolutely amazing. "They're so good. I love how sweet they are."

Not wanting to miss the opportunity, Wooyoung smirked. "If you like sweet things, how about going on a date with me?"

❥𝐴𝑟𝑐𝑎𝑑𝑒 𝐴𝑡𝑡𝑒𝑛𝑑𝑎𝑛𝑡: 𝐶ℎ𝑜𝑖 𝐽𝑜𝑛𝑔ℎ𝑜

Jongho was no strange face to you and you were no stranger to him.

He often worked part time at the local arcade during summer break.

You and your friends hung out there a lot after you guys got done with your respective jobs.

"Hey." "Hi." You both always shyly greeted each other like that for 3 years now, sometimes starting small conversations.

Your friends often rolled their eyes at you, telling you to work up the courage to ask him out.

His friends, and coworkers, were also trying to do the same to him.

"They're totally into you." But Jongho would only blush and brush it off as pure fiction.

One night, he noticed how someone came up to you and tried to hit on you.

You looked visibly uncomfortable and seemed to be wanting a way out of the situation.

When they leaned in too close for your liking, and his, he marched right over there.

"Is there a problem here?" He made it a point to flex his arm muscles, making the person apologize and just scurry off.

"Are you ok?" He asked, wanting to make sure you were fine, which you said you were.

He was gonna go back to the counter, but he had to ask."Y/N...would you like to go out on a date sometime-"

"Yes!" You immediately answered, not letting him finish, suddenly feeling awkward for sounding so desperate.

But Jongho only smiled. "Don't worry, I would have done the same if you had asked me out."

Gifs not mine. Credit goes to their respective owners.

[yamayuandadu]

Circe by Madeline Miller: a review

As you might have noticed, a few of my most recent posts were more or less a liveblog of Madeline Miller’s novel Circe. However, as they hardly exhausted the subject, a proper review is also in order. You can find it under the “read more” button. All sorts of content warnings apply because this book takes a number of turns one in theory can expect from Greek mythology but which I’d hardly expect to come up in relation to Circe. I should note that this is my first contact with this author’s work. I am not familiar with Miller’s more famous, earlier novel Song of Achilles - I am not much of an Iliad aficionado, truth to be told. I read the poem itself when my literature class required it, but it left no strong impact on me, unlike, say, the Epic of Gilgamesh or, to stay within the theme of Greek mythology, Homeric Hymn to Demeter, works which I read at a similar point in my life on my own accord.

What motivated me to pick up this novel was the slim possibility that for once I’ll see my two favorite Greek gods in fiction, these being Hecate and Helios (in case you’re curious: #3 is Cybele but I suspect that unless some brave soul will attempt to adapt Nonnus’ Dionysiaca, she’ll forever be stuck with no popcultural presence outside Shin Megami Tensei). After all, it seemed reasonable to expect that Circe’s father will be involved considering their relationship, while rarely discussed in classical sources, seems remarkably close. Hesiod’s Catalogue of Women and Apollonius’ Argonautica describe Circe arriving on her island in her father’s solar chariot, while Ptolemy Hephaestion (as quoted by Photius) notes that Helios protected her home during the Gigantomachy. Helios, for all intents and purposes, seems like a decent dad (and, in Medea’s case, grandpa) in the source material even though his most notable children (and granddaughter) are pretty much all cackling sorcerers, not celebrated heroes. How does Miller’s Helios fare, compared to his mythical self? Not great, to put it lightly, as you’ll see later. As for Hecate… she’s not even in the book. Let me preface the core of the review by saying I don’t think reinterpreting myths, changing relations between figures, etc. is necessarily bad - ancient authors did it all the time, and modern adaptations will inevitably do so too, both to maintain internal coherence and perhaps to adjust the stories to a modern audience, much like ancient authors already did. I simply don’t think this book is successful at that. The purpose of the novel is ostensibly to elevate Circe above the status of a one-dimensional minor antagonist - but to accomplish this, the author mostly demonizes her family and a variety of other figures, so the net result is that there are more one dimensional female villains, not less. I expected the opposite, frankly. The initial section of the novel focuses on Circe’s relationship with her family, chiefly with her father. That’s largely uncharted territory in the source material - to my knowledge no ancient author seemed particularly interested in covering this period in her life. Blank pages of this sort are definitely worth filling. To begin with, Helios is characterized as abusive, neglectful and power-hungry. And also, for some reason, as Zeus’ main titan ally in the Titanomachy - a role which Hesiod attributes to Hecate… To be fair I do not think it’s Hesiod who serves as the primary inspiration here, as it’s hard to see any traces of his account - in which Zeus wins in no small part because he promises the lesser titans higher positions that they had under Cronus - in Miller’s version of events. Only Helios and Oceanus keep their share, and are presented as Zeus’ only titan allies (there’s a small plot hole as Selene appears in the novel and evidently still is the moon…) - contrary to just about any portrayal of the conflict, in which many titans actually side with Zeus and his siblings. Also, worth noting that in Hesiod’s version it’s not Oceanus himself who cements the pact with Zeus, it’s his daughter Styx - yes, -that- Styx. Missed opportunity to put more focus on female mythical figures - first of many in this work, despite many reviews praising it as “feminist.” Of course, it’s not all about Helios. We are quickly introduced to a variety of female characters as well (though, as I noted above, none of these traditionally connected to the Titanomachy despite it being a prominent aspect of the book’s background). They are all somewhat repetitive - to the point of being basically interchangeable. Circe’s mother is vain and cruel; so is Scylla. And Pasiphae. There’s no real indication of any hostility between Circe and any of her siblings in classical sources, as far as I am aware, but here it’s a central theme. The subplots pertaining to it bear an uncanny resemblance to these young adult novels in which the heroine, who is Not Like Other Girls, confronts the Chads and Stacies of the world, and I can’t shake off the feelings that it’s exactly what it is, though with superficial mythical flourish on top. I should note that Pasiphae gets a focus arc of sorts - which to my surprise somehow manages to be more sexist than the primary sources. A pretty famous tidbit repeated by many ancient authors is that Pasiphae cursed her husband Minos, regarded as unfaithful, to kill anyone else he’d have sex with with his… well, bodily fluids. Here she does it entirely  because she’s a debased sadist and not because unfaithfulness is something one can be justifiably mad about. You’d think it would be easy to put a sympathetic spin on this. But the book manages to top that in the very same chapter - can’t have Pasiphae without the Minotaur (sadly - I think virtually everything else about Pasiphae and Minos is more fun than that myth but alas) so in a brand new twist on this myth we learn that actually the infamous affair wasn’t a curse placed on Pasiphae by Poseidon or Aphrodite because of some transgression committed by Minos. She’s just wretched like that by nature. I’m frankly speechless, especially taking into account the book often goes out of its way to present deities in the worst light possible otherwise, and which as I noted reviews praise for its feminist approach - I’m not exactly sure if treating Pasiphae worse than Greek and Roman authors did counts as that.  I should note this is not the only instance of… weirdly enthusiastic references to carnal relations between gods and cattle in this book, as there’s also a weird offhand mention of Helios being the father of his own cows. This, as far as I can tell, is not present in any classical sources and truth to be told I am not a huge fan of this invention. I won’t try to think about the reason behind this addition to maintain my sanity. Pasiphae aside - the author expands on the vague backstory Circe has in classical texts which I’ve mentioned earlier. You’d expect that her island would be a gift from her father - after all many ancient sources state that he provided his children and grandchildren with extravagant gifts. However, since Helios bears little resemblance to his mythical self, Aeaea is instead a place of exile here, since Helios hates Circe and Zeus is afraid of witchcraft and demands such a solution (the same Zeus who, according to Hesiod, holds Hecate in high esteem and who appeared with her on coins reasonably commonly… but hey, licentia poetica, this idea isn’t necessarily bad in itself). Witchcraft is presented as an art exclusive to Helios’ children here - Hecate is nowhere to be found, it’s basically as if her every role in Greek mythology was surgically removed. A bit of a downer, especially since at least one text - I think Ovid’s Metarphoses? - Circe directly invokes Hecate during her confrontation with king Picus (Surprisingly absent here despite being a much more fitting antagonist for Circe than many of the characters presented as her adversaries in this novel…) Of course, we also learn about the origin of Circe’s signature spell according to ancient sources, changing people into animals. It actually takes the novel a longer while to get there, and the invented backstory boils down to Circe getting raped. Despite ancient Greek authors being rather keen on rape as plot device, to my knowledge this was never a part of any myth about Circe. Rather odd decision to put it lightly but I suppose at least there was no cattle involved this time, perhaps two times was enough for the author. Still, I can’t help but feel like much like many other ideas present in this book it seems a bit like the author’s intent is less elevating the Circe above the role of a one note witch antagonist, but rather punishing her for being that. The fact she keeps self loathing about her origin and about not being human doesn’t exactly help to shake off this feeling. This impression that the author isn’t really fond of Circe being a wacky witch only grows stronger when Odysseus enters the scene. There was already a bit of a problem before with Circe’s life revolving around love interests before - somewhat random ones at that (Dedalus during the Pasiphae arc and Hermes on and off - not sure what the inspiration for either of these was) - but it was less noticeable since it was ultimately in the background and the focus was the conflict between Circe and Helios, Pasiphae, etc. In the case of Odysseus it’s much more notable because these subplots cease to appear for a while. As a result of meeting him, Circe decides she wants to experience the joys of motherhood, which long story short eventually leads to the birth of Telegonus, who does exactly what he was famous for. The final arcs have a variety of truly baffling plot twists which didn’t really appeal to me, but which I suppose at least show a degree of creativity - better than just turning Helios’ attitude towards his children upside down for sure. Circe ends up consulting an oc character who I can only describe as “stingray Cthulhu.” His presence doesn’t really add much, and frankly it feels like yet another wasted opportunity to use Hecate, but I digress. Oh, also in another twist Athena is recast as the villain of the Odyssey. Eventually Circe gets to meet Odysseus’ family, for once interacts with another female character on positive terms (with Penelope, to be specific) and… gets together with Telemachus, which to be fair is something present in many ancient works but which feels weird here since there was a pretty long passage about Odysseus describing him as a child to Circe. I think I could live without it. Honestly having her get together with Penelope would feel considerably less weird, but there are no lesbians in the world of this novel. It would appear that the praise for Song of Achilles is connected to the portrayal of gay relationships in it. Can’t say that this applies to Circe - on this front we have an offhand mention of Hyacinth's death. which seems to serve no real purpose other than establishing otherwise irrelevant wind god is evil, and what feels like an advert for Song of Achilles courtesy of Odysseus, which takes less than one page. Eventually Circe opts to become mortal to live with Telemachus and denounces her father and… that’s it. This concludes the story of Circe. I don’t exactly think the original is the deepest or greatest character in classical literature, but I must admit I’d rather read about her wacky witch adventures than about Miller’s Circe. A few small notes I couldn’t fit elsewhere: something very minor that bothered me a lot but that to be honest I don’t think most readers will notice is the extremely chaotic approach to occasional references to the world outside Greece - Sumer is randomly mentioned… chronologically after Babylon and Assyria, and in relation to Persians (or rather - to Perses living among them). At the time we can speak of “Persians” Sumerian was a dead language at best understood by a few literati in the former great cities of Mesopotamia so this is about the same as if a novel about Mesopotamia mentioned Macedonians and then completely randomly Minoans at a chronologically later point. Miller additionally either confused or conflated Perses, son of Perseus, who was viewed positively and associated with Persia (so positively that Xerxes purportedly tried to use it for propaganda purposes!) with Perses the obscure brother of Circe et. al, who is a villain in an equally obscure myth casting Medea as the heroine, in which he rules over “Tauric Chersonese,” the Greek name of a part of Crimea. I am honestly uncertain why was he even there as he amounts to nothing in the book, and there are more prominent minor children of Helios who get no mention (like Aix or Phaeton) so it’s hard to argue it was for the sake of completion. Medea evidently doesn’t triumph over him offscreen which is his sole mythical purpose. Is there something I liked? Well, I’m pretty happy Selene only spoke twice, considering it’s in all due likeness all that spared her from the fate of receiving similarly “amazing” new characterization as her brother. As is, she was… okay. Overall I am definitely not a fan of the book. As for its purported ideological value? It certainly has a female main character. Said character sure does have many experiences which are associated with women. However, I can’t help but think that the novel isn’t exactly feminist - it certainly focuses on Circe, but does it really try to “rehabilitate” her? And is it really “rehabilitation” and feminist reinterpretation when almost every single female character in the book is the same, and arguably depicted with even less compassion than in the source material?  It instead felt like the author’s goal is take away any joy and grandeur present in myths, and to deprive Circe of most of what actually makes her Circe. We don’t need to make myths joyless to make them fit for a new era. It’s okay for female characters to be wacky one off villains and there’s no need to punish them for it. A book which celebrates Circe for who she actually is in the Odyssey and in other Greek sources - an unapologetic and honestly pretty funny character -  would feel much more feminist to me that a book where she is a wacky witch not because she feels like it but because she got raped, if you ask me. 

Circe evidently having the time of her life, by Edmund Dulac (public domain)

[mfpeace]

@justbeingedgy @weird-colombian-gurl You asked me to elaborate on the "Ches already has a kid" theory in the notes of that one mf analysis post (which I really liked, go check it out!!), so that's why I'm making this one, cuz notes are a bit too restricting for what I want to talk about!

Though next time think twice before asking me to talk about something I'm interested in, because you never know when you're gonna wake up lovecraftian horrors!! :DDD you'll see what i mean when you press read more :))

So, I'll say it right now - this post is largely inspired by the second story highlight of this Instagram user (sorry, I don't know their name, only that their Instagram handle is dee_girl_metalfamilyfan), it's in Russian though, so keep that in mind

Alright, so I'll break this theory into two parts: the first one will be all about Ches, and the second will be about his potential child (spoiler: you might've seen her!)

Without any further ado, let's get to the Ches part:

1. The creators said that they're gonna explore Ches' character in the second season. Obviously, it doesn't mean anything on it's own, but just wait.

Dima: Let's talk about the second season a little. Of course, the seconds season will show development of the old characters, as well as new ones. That's in short. As you see, Ches looks a bit different here.

Alina: Yeah, we'll show a bit more about Ches at the ages of 18 to 20. His past. We'll reveal a bit more about his complex character, as much as it's possible.

(The source of the translation) Also I think they also said at one point that adult Ches will get some character development too? But that's probably a given, considering that we wouldn't see his youth if it wouldn't have affected him in the present, flashbacks without any relevance to the overall story don't sound so good

2. Not sure about this one (we don't know how much in character it was) but I can't not mention it.

Alina: Actually there was this one fanfic that I really liked. I don’t remember what it was called, but it was about Ches having a daughter, which is a cool topic. It was relatively in character and truly interesting. It’s great when people focus not just on sexual relationships of the characters, but also try to look at their development. That was a really interesting one. That’s it.

(UnityCon '19)

3. This one's a pretty big one, in my opinion. So, this is what they said on ArtWave '19:

Dima: Ches also has flaws.

Alina: [to Dima] Don’t spoil stuff.

Dima: His flaw is that he's very... irresponsible, let’s say.

So, maybe, just maybe, Ches does have a child but he, you know... left them? As the Instagram highlight from the beginning say: "he might be irresponsible enough to leave his child, and he's probably irresponsible enough not to use any contraception" (rephrased, not the exact quote)

4. Alright, so, the only mention of this one I can think of right now is the aforementioned Instagram highlight. The Metalfamilyfan says:

I contacted Korg/Корж, (admin of @ metal_yama [and I believe one of the organizers of the Metal Family Meetup in Moscow]) and she asked Alina on one of the meetups: "if Ches were to be a father, what kind of father would he be?"

And she said: "The kind of that would say "kid, look at that birdie over there!" an then he would run away"

Someone's words are not the perfect source, but they did tag Metal Yama and from what I know they didn't disagree with what the author of the page said. if anyone has anything to say about this (disprove or definitely prove what I said) feel free to do so in a reblog, notes, DMs, send me an anonymous ask, or in any other way you feel comfortable with

5. Ches has literally been through the same thing, and we know how important the theme of the cycle of abuse is in Metal Family (or, in this case, the cycle of neglect? Abandonment? Idk)

You managed to hide your PREGNANCY from me! AND you've been hiding the child from me for a whole year!

YES, because you would've insisted on aborting him!

AND NOW I'M INSISTING ON PUTTING HIM UP FOR ADOPTION! OR I'LL LEAVE RIGHT NOW!

6. Here we can see Ches with a blonde girl. Nothing too special, probably just a one time hook up. He doesn't seem to be interested in her, and she seems to be annoyed with him.

But wait...

What is this?

Like, it doesn't even matter if there's actually a punk/rock/whatever band named MOM or not, I just think it's pretty weird to put it in this particular drawing of Ches and this random woman who is implied to have slept with him. It's not integral to Ches' character as, for example, Korol i Shut is. It's just... there. For some reason.

------------

Alright, now, finally let's get to the second part of the theory: who is, exactly, his child?

The short answer is, according to this theory, her:

First, let me list every single instance of her appearing in canon (and by canon I mean everything made by the creators. Even with this definition of canon it's not much, I promise): The screenshot you can see above on the left (it's a screenshot from the second season and it appeared here), an instagram story posted by Alina (above, right), and two drawing with a lot of characters where you can spot the girl which I'm gonna call her PinkHair or PH for short, I'll mention them later I feel like I should mention this, comparing the sources of the images and the dates when they were posted, it's safe to assume that the screenshot in the classroom has the latest and final version of her design. The red hair most likely doesn't mean anything

1. Alright. So. we've seen Dee and PinkHair in a classroom together, so they're most likely related in some way, or at least they know each other. Their exact relationship doesn't matter here, because all that matters here is that they're related story-wise

Let's look at the first image. This is the banner of the main Metal Family channel. Ches is near Heavy (they get along quite well and I'm sure Heavy aspires to be like Ches in many ways), Dee (we can see his classmates/friends near him, they're all about his age), and we can see people related to Glam on the left side of the image (including Ches!), and Vicky's - on the right side (notice how the hell sign is also there)

Now, I'm not absolutely sure about this one, but it's still kind of weird - look at the image on the right (it's from ArtWave 2021 btw) - wouldn't it make more sense to put PinkHair near Dee? Also, Curiously enough, not only is she not close to Dee on this image, but she's also standing next to Ches.

Though this whole thing could be explained by art theory (too many small things in one corner of your drawing isn't great composition wise lol sorry PH) but I still can't quite skip this point

2. Remember the "MOM" lady? Fun fact, she has the exact same pearl earring that PinkHair has on the screenshot.

3. I'll put all similarities with her supposed parents in this point: Mother: * She's also pretty uh.. glam? for the lack of a better word? Or feminine in a traditional sense, yeah I think that's a better way to put it. Like colors they prefer to wear for example, and jewelry. Characters like that aren't common in Metal Family * She's gotta be a blonde. I can't imagine her being anything but blonde. If she manages to maintain that hair color as a brunette I'm just straight up assuming her character arc is gonna be killing God because these kind of people are capable of anything. I fear them with every fiber of my being. * I can't say for sure because of the shading, but it seems like they both have gray eyes, and she also has darker skin compared to most MF characters. Though, it's likely that Mom just applied a lot of fake tan Ches: * We know that Ches for sure has darker skin * AND grey eyes * There's also some possible personality similarities but I'm not sure if you can compare a child to a parent they've never really known in this way

That's about it, I suppose, I hope there isn't that many grammar mistakes and logically unfinished parts and whatnot in this post I forgot to edit lol x) I'm not sure how to end this post other than to remind you guys that almost all the points in this posts are inspired by the "тупая теория" highlight on the dee_girl_metalfamilyfan's Instagram page, so go check them out and subscribe, they post Dee x The Quest Girl fanart and and always credit the artists. Without them this post would be much, much shorter.

Thanks for reading this post, please feel free to let me know your thoughts on this post <3

[vonnart]

XXXII - Accepting Darkness

I want to focus on how we collectively all have darkness, and that's okay. I want to be honest rather than come across as a beacon of absolute rightness. I feel like that closeness to darkness is something I’ve carried with me forever. And my awareness of that darker side is my strength. It's a willingness to acknowledge that i'll always have faults and areas to work on and grow.

And no one seems to be honest right now and it’s a stress I’ve been distancing from. It’s been hard to function this past year in a time when everyone feels obligated to project how good and on the right side they believe to be. Sharing stories and posts declaring allegiance, validating themselves then shedding any form of responsibility. Deeming those that don’t side with them as adversaries, followed with cruel name calling all in the name of virtue, yet void of empathy. I see people believing they have the absolute answers in terms of moral compassing and soap boxing how everything’s terrible and the nameless other side is to blame. It’s a winless game of pointing fingers and turning the heat on a fire that is already ablaze. I wish as a country we could lift each other up with respectable debate. But we have been taught and conditioned as an American culture to only show how great we are positioned and that opinions and ideas outside of what's currently accepted should be shunned and respectively cancelled.

I’ve been taking a lot of time away from this noise. With new reserved time, I’ve been dedicating more of myself and energy to my close circle of friends/family instead. And wow, what a difference that can make. Before explaining this piece more, my advice to a happier life is simply this: On IG, mute or just unfollow those who preach how horrible everything is. I muted almost half of who i’m actually following on here (no joke). And I haven’t checked the Twitter main page in almost a year. It’s simply not worth it. People that do focus on what’s wrong come with a heavy depravity and energy draining info blocks that are not worth your stamina. All it takes is one callous re-shared story to dampen the rest of your day.

A quote I recently picked up from reading "The Secret": "You cannot help the world by focusing on the negative things. As you focus on the negative events of the world, you not only add to them, but you bring more negative things into your own life at the same time."

Instead of putting so much time into the broad spectrum of humanity, I believe it better serves us to look inward and address those issues first and foremost. As it's ever so easy to talk about how "bad" everything is, if you look for hate, it will find you in abundance. So rather then vainly share what i believe to be my positive traits for gratification this year, I’d rather share my weaknesses as an example and as a way to show that we all have shadow work to pursue and better ourselves on:

I tend to have habits of jealousy, especially in the art world which leads to over-critiquing others to placate myself. I instigate issues that make me uncomfortable from afar so that i have some control to shift it but far enough away to escape blame. I ignore those i can’t confront and would rather cut someone off coldly than explain to them my distancing. I am overwhelmed easily when too many others try to get a hold of me so i ignore them knowingly. I feel self absorbed in my film and art tastes and judge too harshly when in discussion about these subjects. I am controlled by my obsession with a following count and am addicting to the rush of posting and gaining those fleeting positive reactions. My ego is constantly creeping up and being carried to make me feel better about situations that I feel small against. I don’t want to pretend that these tendencies don’t exist but rather ask myself why they are there to being with. Usually I can find hidden pockets of insecurity, selfishness, and pride lurking in the shadows of my mind. Just helplessly shouting for attention.

So I’m accepting that this darkness resides in me, and rather then condemn it, take hold of it, then steer it. From there I walk hand in hand to find how that can knowledge can create something good.

Like we were taught as children, "No one's perfect" and yet today we condemn those with ultimatums who don't appear as such on these social platforms. It's absurd and I say to focus less on what side your on, unless you are in a position where you can share actual care for our fellow neighbor and stranger.

These are conclusions from me at the ripe age of 32. This mess of thoughts are a few I’ve been wrestling with in the modern world and making me accept darkness for what it is. I want to work alongside it with everyone in my life rather than pretend it doesn’t exist as no one is without some form of it.

[felassan]

DA4 Lead Producer Scylla Costa’s BIG Festival talk, “Challenges of Dragon Age production during the pandemic”, can currently be rewatched on YouTube here starting roughly at timestamp 8:57:02 after a lil presenter blurb/intro. It’s 1 hour long. When it was streamed live, there was an English translation ‘voiceover’. There isn’t in this vid, however I want to post the link for Portuguese speakers, and also it’s neat for everyone to be able to see all the slides he presented with for themselves in context.

I don’t know if an English-language version will get put up so I’m sharing the notes I took during the talk below, in case anyone’s interested and because I might as well since I wrote them. The rest of this post is under a cut due to length.

Edit: Found a place to re-watch the English version of the talk

(Quick note: I didn’t note down everything, mostly things that caught my interest, so this isn’t exhaustive, and when I was watching I was real tired, so pls bear that in mind and don’t take these notes as bullet-proof 100% accurate gospel or direct quotes. If you watched it and think I’ve written down something wrong/misunderstood, let me know and I’ll fix. Also if you’re a Portuguese speaker and I’ve gotten something incorrect or missed something important etc, again just let me know.) **

** Edit: I’ve now gone through my notes while watching the talk again. I’ve filled in some of the gaps (although they still don’t cover everything said) and so forth, and now I’m no longer worried about there being possible errors in this post.

-----

For some context, this slide contained the breakdown of the talk’s structure. Bear in mind there are other slides present in the talk than the ones I’ve posted here, I didn’t include caps of all of them, just ones which were of note to me.

In the talk, chief Producer Scylla goes over challenges of DA4 production during the pandemic. He discusses the adaptations - necessary skills and learning from remote work - and he ponders on the future of teamwork.

After the launch of ME3 he became a producer, all his MMO and other experience helped a lot. He was on DAI for 3 years and MEA for 9 months, then Anthem. Today, on DA4, Scylla and another Lead Producer were the heads of the whole project, and there is his boss is the Executive Producer Christian Dailey. 

^ the usual AAA game development cycle (brief introduction)

AAA games are games that are launched for several platforms simultaneously. 

In BioWare’s case, the pre-production phase of the game development cycle can have from 5 - 30 people, and up to almost 60 people when they’re just about to go through the gate to production. 

In the pre-production phase, they go through the game’s concepts and prototypes and start developing systems. They seek the game’s concept and focus, and its key features. They do lots of market research. In the case of BioWare, all their games are strong in narrative, so they have lots of tools related to game narratives and supporting the development of a narrative (cinematic design, dialogue system etc) that get focused on in this phase. Other parts of the team such as writers and cinematic design need these systems to do their own roles. 

In BioWare’s case, the pre-production phase through to launch can take 4 - 6 years, but it does depend on the size of the team during development.

With regards to Dragon Age 4, they were coming close to the time when they would shift from pre-production to the production stage when the pandemic hit.

During the production phase is when the development of content and features takes place, with the systems mostly already existing from the pre-production phase. A few new systems may be developed in this phase. In the production phase is when things start escalating, and the team really starts growing, to like 2- or 3-fold the prior pre-production phase size. 

(DA4 is currently in the production phase.)

In the alpha phase, features have to be fully implemented and systems all have to be running / working. All the game features should already be in the game by now. They test from pre-production onwards, but this phase is when they run heavy technical tests with lots of players trying to play at the same time. In the beta phase, the idea is that you should now have full content and that now you’re balancing it and running more and lots of different tests with players before launch. There are final tweaks and then the final launch, when in the weeks prior to launch, all the different business units and areas e.g. marketing team, technology team, publishing team, get together once a day and all of the game’s issues are reported and brought to the table to be prioritized. Then they decide the next steps re: these issues (this is known as ‘the war room’).

After the launch there are usually patches like day zero patches and other patches, this being standard industry practise. The last stage is the new content stage where there are DLCs and a game with more content.

On March 12th 2020, the team gathered to review the DA4 story in the new office. Everyone was very excited. (They had spent over 10 years in their last building and had noticed that with the team growing they needed more space. In August 2019 they found the new studio in the city center.)

Anyway that evening, they got an email from the CEO which contained instructions and said that due to the pandemic, they should from now all start working remotely. They had known that this happening was a possibility so they had been planning on how to have all the devs working from home, but initially less than 50% of the devs were able to work from home successfully/efficiently due to various issues e.g. you need a VPN to be able to log in remotely to do your job normally, varying home office setups. The day after this, the office was basically deserted, except for Scylla, the IT infrastructure people and one or two odd devs.

Scylla was part of the team that was working on allowing the devs to work from home. They first started looking at the short-term changes they needed to make to allow this.

“First, take care of our developers”. 

When the pandemic first hit, their and Scylla’s [as Lead Producer] first priority was to look after the devs. Many of them are parents (schools and day-cares were shut, children were studying from home), others have relatives living with them, others have other personal circumstances which of course need to be taken into account when it comes to assessing what needs to be taken into consideration for this new scenario. So, they looked at each dev on a case-by-case basis in order to evaluate, speaking to each one and asking them what they could do to support them.

One of the first changes/adaptations they could implement was flexible working hours and flexibility around deadlines. Generally speaking the devs got a lot of support, EA was really good and really supported the devs especially in the first months of the pandemic (and they are still supporting them). Initially not all devs had suitable office spaces at home, some were working from the living room from laptops or at the kitchen table. The whole covid situation basically just happened over night and nobody was really ready to deal with that change. So their first step was to enable their devs to work remotely. As a producer, Scylla’s main task is to communicate with the team such as via a number of daily meetings. He doesn’t depend so much on powerful hardware.

“Enable developers to work remotely”.

This slide shows some of a BioWare audio team. Different teams have varying and specific needs in order to do their jobs and therefore in order to do them remotely. For example, the audio team need good-quality speakers and amplifiers, while the lighting and art teams need other specific equipment such as tablets and large screens. So there was a lot of work they had to do to go through each dev to understand their individual needs and what needed to be done for them. ‘Could they download the builds? Did they have the right performance [tech-wise]? Could they submit their changelists, their codes to the server?’

Some devs needed a more powerful internet connection as it would take 6-8 hours to download a build (some devs live rurally). Some needed a lot of cable, as they were working far away from their routers (sometimes up to 50m). As time went by things got better and better. 

The chair devs work from is also important; a kitchen able chair etc is not suitable to sit in for long-term desk work, possibly leading to health issues like back ache and blood circulation problems in the legs.

Every 3 months they had money given to help devs buy new mice, keyboards, monitors - anything they needed really in order for their office setting at home to be improved. For a while, because lots of people [generally, in society] were needing and buying them, it was quite hard to buy things like webcams and microphones.

On mid- and long-term changes:

In terms of DA, we have to look at this from 2 perspectives, the change in the personal and the professional environments. 

As a consequence of working from home, people tend to be less active during the day (even in an office, you go between meeting rooms, up and down stairs etc). Physical activity supports life quality and therefore work quality. Scylla noticed that he began to feel listless and such, and found that he needed to change his routine that he had initially developed when he started working from home, for example; having a normal start time (as in, have a semblance of structure in your day as if you were still working in the office site), get dressed at the normal time, not having meetings over lunch etc. This wasn’t just him, lots of other devs encountered this and had this experience too. Devs which adapted faster had better productivity and became more productive faster.

Scylla bought a stand-up desk which he can raise up and down, and at meetings he would be delivering a talk while standing or even while walking on a treadmill. Other devs also got stand-up desks. He tracked his body’s data on a Fitbit. These sorts of things helped improve physical and mental wellbeing. Other devs did similar things, like starting going out for jogs or began practising yoga. Essentially, everyone needed to make changes to their daily routine in comparison to what they had been doing prior to the pandemic. 

The pandemic has been a thing for over a year now. In their location, every couple of weeks a new restriction is put into place or a rule is changed, and every two weeks there’s a new thing that you can and can’t do. Scylla also started moving around his property. He worked on his desk, fixed it up and painted - taking up a new hobby. Other devs picked up new hobbies too. These are good ways to be active and also to be somewhere else, i.e. to break up the working day and not be spending it all in one home office-type location. Scylla found that when he made these sorts of changes to his routine to improve his lifestyle, the data output by his Fitbit as indicators of his health/wellbeing etc improved, e.g. number of steps taken in a day, heartbeats per minute while at rest. As stated many of the other devs went through a similar process.

On the professional side of things:

They had to improve remote delivery of builds. Accessing things from home as a dev requires a VPN. They need to download a build every day and then upload it to the server after making their changes to the game. They had to work with infrastructure and research other tech, such as streaming tech to allow remote console access, in order to better facilitate this process. For remote access, they also had to work on adapting communications channels.

“Adapting channels of communication.”

In this slide, the team are working on the storyboards. Before you can implement motion capture & performance capture, you have to ‘run the storyboards’ like this. These are small illustrating drawings which reflect the drafts and are meant to quickly reflect the intention of the scenes that are to be built. Before the pandemic, the team would go to meeting rooms like this, sit down, talk and interact in person. After the pandemic, the question became ‘How do you do this over Zoom?’ You can, but it’s not quite the same; it’s harder to see peoples’ expressions, some people are embarrassed speaking over Zoom etc. Therefore they had to adapt their communications systems, and unlearn the ways in which they developed before in order to relearn and learn new ways of communicating.

Slack was a tool that they adopted on this front. Communications channels can be confusing on Slack, so there was a need to develop structure. For example, how quickly should someone reply (as a recommended convention for the purposes of work)? They had to define the process/procedures for the channels so it was clear for the team as a whole how it would all flow (this is important especially if you have a team with say 30 people or as a whole hundreds of people). Before the pandemic, they had stand-up meetings where they’d go around in a circle every morning and talk about their activities - what they’re going to be working on, any roadblocks they had encountered etc. The question arose ‘How do you replace these?’ They ended up doing Slack messages at a certain time of day and updating their statuses with some details on what they’re working on and color-coding (green - fine, yellow - need help, red - busy/blocked out).

Another issue that they faced was unforeseen - the number of meetings that devs were having really shot through the roof. When there wasn’t a good structure of communications channels, any conversation would become a meeting. Everybody began scheduling meetings left and right, and at the end of the day they would have little time left in which to actually work on their to-do lists. Hence, they had to work with the team to really analyze and be very pragmatic. ‘Which meetings needed to happen? Which didn’t? Is a specific meeting really necessary? Which meetings should be recurring? What can be done over Slack?’ This guideline had to be given to the team to help, and it improved things a lot. The number of meetings decreased a lot and they got more effective. For example, by making sure to set an agenda for meetings beforehand, and by having meeting notes (then a dev who didn’t really need to be at a meeting could skip attending and just quickly review the notes output after instead). They also decreased the standard length of meeting times from the default Outlook blocks of 1 hour and 30 mins to 55 mins and 25 mins respectively. This 5 minute change gave devs time for things like bio breaks (also 4 hours in a row at a computer in a home office with one meeting after another just isn’t good for a person).

“Adapting p-cap and mocap”.

On content:

From a content point of view, the most difficult thing in terms of the pandemic was adapting p-cap and mocap (performance capture and motion capture). They hire actors and it’s a large studio. The pandemic meant big limits to what they could and couldn’t do. The actors had to be masked and 5 meters apart in distance (although it doesn’t look like it in some of these shots due to angles). Also there could be no other person around in the studio - only the actors. The directors instead would ‘patch’ in remotely on big screens (you can see this in the second photo in the top right). 

Before the pandemic, they felt that they wouldn’t be able to do p-cap or mocap properly remotely, as the directors would usually stand right next to actors giving guidance on their performance. The techs would also usually be near. But they adapted! The keyword is adapting, changing process. It’s harder and it’s different, but it is possible, and people start rethinking what is possible. What was said to be impossible before now is possible.

P-cap differs to mocap in that it also captures voice and facial expressions.

On the future of work after covid:

There will probably be more working from home and more flexibility for workers e.g. being able to work say 3 out of 5 days from home. It does depend on what a dev’s specific job is however. For example, the audio engineers require lots of specialist equipment and said equipment is of higher quality and quantity in the office. So, depending on role, devs might be working more often or less often from home.

Another development is that lots of devs are moving house. In lockdown etc people started reassessing what’s most important in life. Some are moving further away from the studio to get a cheaper rent or for example couples who both needed an office space to work from home from but their current place only had one area. Others are moving closer to nature for a better quality of life, and still others have other different reasons for doing so. Over 10 devs that he knows in fact have recently moved, including Scylla himself.

The pandemic changed certain skills being used by people on a daily basis. Scylla used as an example of this one of his soft skills, being able to tell from looking/interacting in-person with someone if they are stressed out. Obviously it’s less easy to tell if someone is stressed out when you’re remote, so you adapt different ways of checking in with people in the new situation. To continue carrying out his role as Lead Producer, he began checking in with his team pro-actively on the new comms channels and asking how they were doing.

Also, now that companies are more open to working remotely, there is going to be increased competition for hiring devs. They saw both sides of this coin at BioWare. They were able to hire devs from many places that they couldn’t hire from before e.g. Montreal, Vancouver, the US, as there’s less need for devs to relocate to Edmonton or Austin. This opens up opportunities to hire really intelligent and skilled people that they would not have had access to before.

Question and answer segment:

The pre-production phase has been concluded. They’re in the production phase.

They are not giving out a lot of details yet but Scylla is really excited as a big fan of the whole series. He thinks that with DA4, they will have the opportunity/possibility to launch the best story out of all DA games. He feels that the characters they’re making are amazing. He’s dying to say more but can’t. 

When you work from home you need to keep your team as productive as possible. During the pandemic, when people started working from home, they noticed that some people became more productive and some people became less productive. They were analyzing it on a case-by-case basis so as not to make assumptions. They were interested in seeing what they could do to help. At the beginning of the pandemic, they were looking at the devs as people and seeing what they needed.

Production of DA4 still needed to continue during the pandemic because they want to be able to launch the game.

This slide shows a writer. Writing is an example of a role which is more able to work from home easily.

Their productivity did go down in the first month of the pandemic. After adaptations, some people then became more productive than they were before (this was role and personal situation-dependent, examples of this being artists and coders who were able to art and code at home without being interrupted, thereby being able to produce more). Covid has affected productivity in general, but this is part of our new reality. They have adapted and adjusted some deadlines. They have enough data (Scylla LOVES data) now to understand how long it will take them/how long they’ll need to launch the game. They have always had historical data for this purpose, but they’re doing more of this sort of thing now to ensure that they are doing things at the right time.

Remote hiring opens up the door to more talent joining, so if someone has talent geography will hold them back less. Some companies though may choose not to hire people from other countries due to labor issues, cumbersome legal aspects, time zones. But even in such cases there are activities for example that can be carried out while the rest of the team is asleep such as testing or working on the build, or there are cases where those companies still will want to hire a specifically/highly talented person even in spite of the potential legal aspects and so on.

On mental health: People were affected. There is the mental, physical and social impacts of the pandemic situation on people. EA supported them during the pandemic in terms of their mental wellbeing, there are specific companies (services offered, speaking to a therapist) that they can contact if they need something or help. EA had always been good at supporting them with this sort of thing but this has improved further during the pandemic. Another change was that they could/can take a couple of days off if they needed/need to because of the pandemic e.g. to take care of children, who were obviously not at school at the time. As a producer he had to be very mindful of all of this. How much they were monitoring peoples’ wellbeing really went up during the pandemic.

A question that was asked - in terms of DA4′s storybeats, is there anything in there that they decided to change due to the pandemic as it wouldn’t be sensitive or appropriate to include anymore, for example a plague plotline or something? Scylla’s answer is that DA and ME are games in which they try to have narratives that are relatable, which include things which people will identify with, so that players understand what characters are going through etc. Nothing in DA4′s plotline/storybeats has been changed (in the frame of this question, relating to the pandemic), as it didn’t have anything in it that could be specifically or a directly connected to a pandemic-type situation or anything. Of course the DA story has Blights and the Taint, but these are different & fantastical things and existed long before the pandemic situation. So this wasn’t the case with DA4 and there was no need to change anything, but this has happened to other games where they decided to change a storyline due to a strong correlation with something in the real world.

There were then concluding/closing remarks. The message he wants to send is that a crisis will always spark opportunities. Look at a crisis and try to see how you can grow.

-----

[☕ found this post interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[mxrstar]

[ID: the images are two collages/concept art pieces.

the first one has a composite picture of a solar eclipse in the background. you can see the darkened sun, and then the light coming out behind it. the sun is framed by a winding black column that moves snake-like from one side of the frame to the other. the top of the page is painted in blue, grey and black, and the strokes are meant to represent the sea. a stylised lighthouse comes out from the sea upside-down and its light physically floods one side of the painting with a blue-grey ray. the bottom of the piece is also painted in blue, grey and black, but the strokes look more like clouds. in the middle of the sun, a piece of paper says: "callum". above of the collage, on the white corners of the paper, it says: "I think the lighthouse misses you, too", and below the collage: "there are plenty of ghosts who love you".

the second collage has a series of old television on the top half. the televisions are carved out so that through them you can see a hot air balloon shaped like an eye, a blue spiral, the background of a sketched prison, and the name "tim". the bottom part, on a purple-blue-brown background, has a series of darkened pieces of paper glued onto it and is covered in white dots that look like spilt ink. one of them say "shall I be gone for long?" and then right below it "shall I be gone?" "for long", one other goes: "remembrance will be always" but the "always" is almost unreadable and covered by paint. there is a big one that is messily covered in "brother friend son" over and over again. one other says: "death is only by a horizon". at the centre of the piece, there is a written line that says: "you know why you did what you did. you know you would it again." /end ID] 

@titanfalling2 wrote a long, beautiful fic whose main character is a kid I've never thought twice about in canon and now I would die for him. they also wrote an interlude about Tim that is set in the same AU, and I've been quite literally thinking about it non-stop for two days. so, this is what I've done about it. those words really do deserve the time spent making art off of them

under the cut, explanation for Artistic Choices:tm: and some close ups

Callum first:

i'm a big fan of the fact that the background is an actual sun eclipse cause yeah! that's exactly it! just, the idea of darkness literally getting in the way and obscuring a source of light. it's very much part of what callum's story line is about. that realisation that he has So Much potential because (1) he is a kid, and (2) he is a good, caring kid, and he deserves to be put in a situation where he can finally shine and be free

the semi-recognizable lighthouse is there to represent his grandma, sure, but it's also just. the idea of someone guiding you being inaccessible to you sometimes. of having to look up to see it, and figure out where it's pointing. because you aren't used to it, and because there are things that physically get in the way. it stands to reason that the lighthouse and the sea should fall, but they don't, because they exist in a careful balance that by the end isn't yet broken. they are capable of showing callum the light, eventually, because the light has always been there, yes, but also because callum is given enough tools to move freely through his own space

the quote pretty much exemplifies that concept, i think. i also do like the "there's plenty of ghosts who love you" cause the painting kinda looks haunted, but it's okay because there are ghosts who love you

Tim, including close-ups:

the tvs are a way of representing just the concept of Witnessing and they all show something horrific, in one way or another. there's the prison background (i think that's taken from one of piranesi's prisons illustrations- i say i think because i cut the picture from an old school book and lost the inscriptions but i am about 95% sure), then the spiral, which actually had the face of a man lost in it but I went over it with paint because the loss of identity made it more literally spiral to me. there's also the hot air balloon, which is just perfect, because it's basically a skull carried by an eye. talk about witnessing. and then simply "Tim", the signature

i chose "you know why you did what you did. you know why you would do it again" as a quote to put there cause the whole thing is about acceptance. so, it's a reclamation of the mess and the hurt, because you know you would it again. it's the focus through which i was trying to visually depict the fic. it is what it is and it is pretty shitty, but it's mine and i chose it cause it was worth it

this is pretty much a mess but i wanted to sort of just. represent the chaos of it, even in the finality? on a personal level for Tim, all of this means many things. and the white spilled ink is a way to. i don't know, signify that lack of agency in trying to make sense of what's been written, but also total control over the choices he did make (though that's more about the quote above i already talked about)

the "remembrance will be always" is surrounded by that Cloud, sort of, cause Sasha is a dark big spot in Tim's life. her death defined a lot of things and almost burned some bridges. it also has the most white on it cause like, it's one of those places he will want to come back to without ever achieving much because he simply does not remember her

the jon quote is kinder, i think. still complex, but kinder

then there's "brother friend son" which hurts still because of the history there, but it's open

the last "death is only a horizon" is clearer if darker cause it's- a choice but also a part of Tim that is partially defined by his powers

so yeah. that's most of it! i love doing this stuff! too tired to write a conclusion hope the explanation was nice to read <3 i love these fics and ren if you are reading this I'm bowing and throwing you flowers

[my-bated-breath]

On an Immensely Popular Post

Disclaimer: What I’m writing here may not be completely accurate -- like most works of art, literature, and even STEM tend to be -- and as a new fan of ATLA, a few of the metas I publish may be obsolete or unintentionally insensitive. That being said, I like to believe that I can contribute something valuable to this fandom. In all my (real) metas, I wish to be as objective as possible and not rely on my biases, fanon, or common “knowledge” that may just be misconceptions. If anyone reading this finds something to be false or contrived, I am always welcome to constructive criticism. What I am not welcome to is senseless hate or bashing.

My first experiences with the ATLA fandom begun a long, long time ago, but the most recent and powerful revival of my love for ATLA started with me actually watching the show and soon after, with me falling into the endless abyss of ATLA metas on Tumblr. Sifting through the well-written analyses and the emotion-based rants had taught me a lot about critical thinking and the power of influence, so now I’d like to present a meta that critiques an extremely popular post with over 60,000 notes. And since it’s so popular, this is the part where I must make yet another disclaimer.

Disclaimer: I hold nothing against lesbians4sokka (whose name has now been changed to comradekatara). They have the right to share what they want, but since this particular post has become so influential that it’s still being reblogged regularly to this day, I believe it is within my right to criticize it - emphasis on “criticize,” which is different from “hate.”

Now that that’s out of the way, let us begin:

Lesbians4sokka/comradekatara covers 3 main subjects in their post, which I will quote/summarize below:

(1) Ma/iko: “...the entire foundation of mai and zuko’s relationship was built on how miserable they were together, and how they would just sit there and hate the world together— letting their misery fester as they enabled each other’s depression— and I think that’s really unfortunate because they would work so well as friends if they weren’t trying to make their dumpster fire of a relationship work.”

(2) Zutara: “similarly, what makes zuko and katara’s dynamic so compelling is that they share the same flaws, only as opposed to mai’s apathy and misery, it’s katara’s rage and guilt that zuko identifies with. they both share trauma over having lost their mothers, and both in a similar way (sacrificing themselves for them) and they both cope with their grief through rage, often misplaced… katara and zuko have a deep & profound friendship, but if they were to be in a relationship, they would only bring out the absolute worst in each other thru enabling each other’s rage and emotion-driven decision making.”

(3) Z/uk/ka: this pairing makes for a healthy and wholesome relationship because throughout the boiling rock, we see that “sokka and zuko make an excellent team, as they balance each other perfectly. sokka thinks big picture, and plans ahead, but zuko will charge into situations.” They inspire each other, they trust each other unconditionally, they become more open and supportive of each other, they share a lot of common interests and narrative parallels, and in general, just make each other happy (which could work both platonically and romantically).

As for my response: I’m sure many of you are expecting me to start to save the “best for last.” That assumption would be incorrect because I actually have the least to say about point 3.

I agree that Z/uk/ka can be a good relationship. Their dynamic is funny, playful, supportive, etc. etc. (there are so many positive adjectives I could use to describe their dynamic, the list could go on forever). And they could make a great couple.

…

What, did you expect more from me? That’s it, I’m done.

I’m not here to attack Z/uk/ka as a ship, because while I can never actively ship it (I’m a sad, narrow-minded exclusive shipper, always had been and always will be) I can objectively appreciate them as one. It’s points 1 and 2 I’m more concerned about.

Now, since we’ve already begun working backward, I’ll begin my critiques on point 2: I could write extensively about the parallels between Zuko and Katara, including but not limited to shared pain and a few shared flaws - and just a few, because their weaknesses diverge in many important places. However, since I’m trying to write as objectively as possible and since Zuko-Katara parallels have already been discussed to death, my analysis will focus elsewhere.

However, something from comradekatara’s post that I would first like to address is this-

[Zuko and Katara] both cope with their grief through rage, often misplaced. in the southern raiders, they both act deeply insensitively towards sokka by acting as if his grief over his mother’s death is somehow less valid simply because he is a lot quieter in his coping mechanisms and doesn’t project his rage & guilt onto everyone else.

- or rather, the idea that Zuko and Katara’s shared pain causes them to act insensitively towards Sokka (and though the post does not mention it, Aang as well).

(Note: these points have already been covered by countless metas before mine, so you can skip/skim this section to read a newer argument in the next section.)

Even ignoring the fact that the Southern Raiders had many out of character moments, Katara’s insensitivity towards Sokka is first and foremost a reaction against his insensitivity towards her.

_____

Dialogue from Season 3, Episode 16 “The Southern Raiders”:

Aang: Um ... and what exactly do you think this will accomplish?

Katara: [Shakes her head in dismay.] Ugh, I knew you wouldn't understand. [Begins to walk away.]

Aang: Wait! Stop! I do understand. You're feeling unbelievable pain and rage. How do you think I felt about the sandbenders when they stole Appa? How do you think I felt about the Fire Nation when I found out what happened to my people?

Zuko: She needs this, Aang. This is about getting closure and justice.

Aang: I don't think so. I think it's about getting revenge.

Katara: [Angrily.] Fine, maybe it is! Maybe that's what I need! Maybe that's what he deserves!

Aang: Katara, you sound like Jet.

Katara: It's not the same! Jet attacked the innocent. This man, he's a monster.

Sokka: Katara, she was my mother, too, but I think Aang might be right.

Katara: Then you didn't love her the way I did!

Sokka: [Hurt] Katara!

_____

While I believe that Aang’s principles of forgiveness are morally sound, the way he pushes his beliefs onto Katara undermines much of her grief. At first, Aang tries to relate to Katara’s experiences by comparing them to his own, but there is a forceful connotation to his dialogue that suggests that Aang considers himself to be the moral authority compared to Katara. Hence, Aang judges Katara (“I think it’s about getting revenge”) without trying to reach out and understand her, forgoing the empathetic common ground in favor of taking on the moral high ground.

Thus, when Sokka tells Katara, “she was my mother, too, but I think Aang might be right,” Sokka is not only saying that Katara should choose forgiveness, he is implying that Aang is the ultimate moral authority on this matter and that Katara should accept that. Moreover, similarly to Aang, Sokka’s opening line, “she was my mother, too,” had the potential to establish common ground between himself and Katara, but the added “but…” places Sokka on the moral high ground against her instead. Of course, when we remember that just two lines ago Aang equates Katara to Jet, Sokka agreeing with Aang seems even more thoughtless and unsympathetic.

So when Katara lashes out against Sokka, ostensibly “acting as if his grief over his mother’s death is somehow less valid simply because he is a lot quieter in his coping mechanisms and doesn’t project his rage & guilt onto everyone else,” it is important to note that Sokka undermines Katara’s louder, more visible way of grieving as well (though that discounts that for most of the show, Katara only uses her grief over her mother’s death to sympathize with others).

Moreover, Katara’s line, “then you didn't love her the way I did!” is hurtful, yes, but it is not necessarily equivalent to “you didn’t love her as much as I did.” Katara’s love for her mother is different from Sokka’s because her pain over her death is different -- after Kya’s passing, Katara had to carry the emotional burden of becoming a pseudo-mother to Sokka (see Sokka and Toph’s conversation in “The Runaway”), a burden that did not cease after she joined the GAang (see the entirety of “The Desert”). To Katara, Kya was not only her mother, but the representation of the childhood she lost and the sacrifice made to protect her life. Sokka simply does not have that same relationship with Kya.

I do not mean to say that Sokka and Aang unfairly taking on the moral authority in this situation means that this authority instead belongs to Katara (and Zuko) - “The Southern Raiders” is filled with questionable moments from all parties involved. However, TSR is an episode that delves into Katara (and Zuko)’s relationship with a mother’s sacrifice, so how Zuko and Katara respond to this specific trauma from their past does not dictate how they respond to painful circumstances in the present/future. Let’s see how this is true.

Sozin’s Comet, Part 1: The Phoenix King

No doubt Zuko and Katara felt some form of frustration upon Aang’s disappearance, so let’s see how they “[enabled] each other’s rage and emotion-driven decision making”:

Here, Katara and Zuko make a decision together that turns out to be calm, rational, and not at all emotionally-driven despite their mutual frustration and worry towards Aang.

Sozin’s Comet, Part 2: The Old Masters

Zuko holds immense pain and self-loathing over betraying Iroh, yet Zuko and Katara’s conversation does not enable/exacerbate negativity from any party involved (since Zuko often translates his grief into anger, and Katara was evidently angry at Zuko’s betrayal). Instead, their conversation is open, encouraging, and constructive.

(Note: this is where the review of points made by previous metas ends.)

Hence, to say that “[Zuko and Katara] would only bring out the absolute worst in each other [through] enabling each other’s rage and emotion-driven decision making” -  when we are given in-canon examples of the opposite being true - would be a sweeping and inaccurate generalization.

But for the sake of argument let’s say that, hypothetically, Zuko and Katara’s relationship would fail because they only bring out the worst in each other. And here’s where the argument falls apart for me - Is the argument here that Zuko and Katara have an incredibly meaningful friendship yet somehow this “friendship” causes them to enable each other, thus encouraging each other’s worst flaws and regressing each other’s growth? Is a healthy friendship - much less a “deep and profound” one - not one where two individuals can learn from each other in positive ways and balance each other’s shortcomings?

Or is it something different we’re saying here? Are we saying that two individuals can have a “deep and profound” friendship and yet the moment their relationship shifts from platonic to romantic, they are terrible for each other?

While many significant platonic bonds are stunted when they become romantic, I still believe it to be common sense that some of the best romantic relationships stem from a platonic foundation. But since much of “common sense” on the internet sees that “sense” is nonsensical and “common” is a nicer way to refer to mob mentality, I have done my research to show how Zuko and Katara could have been an excellent case of a friends-to-lovers relationship.

An excerpt from my meta, “Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic.” (give it a read if you want to see references to relationship-research and an overanalysis on diction/tone)

The reason why Zutara is framed as a “toxic and unhealthy” relationship is that their romance would be a classic example of the enemies-to-lovers trope, a trope which modern media has not been particularly kind to. However, when executed correctly, enemies-to-lovers can produce a healthy and loving relationship, frequently relying on friendship as an intermediate between the “enemy” and “lover” stages in the most well-executed versions of this trope. Meanwhile, the trope of friends-to-lovers is just as popular as enemies-to-lovers, though the specific dynamic required between two individuals to achieve this transition is not well-known. Recognizing this, Laura K. Guerrero and Paul A. Mongeau, both of whom are involved in relationship-related research as professors at Arizona State University, wrote a research paper on how friendships may transition into romantic relationships…

According to Guerrero and Mongeau, “...scholars have argued that intimacy is located in different types of interactions, ranging from sexual activity and physical contact to warm, cozy interactions that can occur between friends, family members, and lovers…” Guerrero and Mongeau then reference a relationship model where the initial stages (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) reflect platonic/romantic intimacy through communication while the latter stages (i.e. role-taking, achieving interpersonal role fit, and achieving dyadic crystallization) often see both individuals as achieving a higher level of intimacy that involves more self-awareness.

In the rest of my research-based meta I demonstrate how Zuko and Katara’s platonic interactions in the show fit into the stages of communicative intimacy (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) that Guerrero and Mongeau describe as being mutual between friendships and romances. As such, crossing the line between friends and more-than-friends most likely would not cause a dramatic shift in the Zutara dynamic since much of Zuko and Katara’s platonic intimacy easily translates into romantic intimacy. I’ll end off with another excerpt from my meta.

Excerpt from “Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic.”

“...it would be remiss to simply dismiss the Zutara dynamic as one that would instantly become toxic should they pursue a romantic relationship.”

With that little thought in mind, let’s move onto point 3: an exploration of friendship, romance, and why toxicity is not exclusive to the latter.

Let’s start with what I agree with:

“The entire foundation of mai and zuko’s relationship was built on how miserable they were together, and how they would just sit there and hate the world together— letting their misery fester as they enabled each other’s depression...”

I’m not sure how necessary it is for me to elaborate on this point given that it’s already been accepted by comradekatara and perhaps 60,000+ other users on Tumblr (a gross exaggeration but this remains unimportant), but in her essay, “Zuko, Mai, and the Nature of True Intimacy,” Araeph contributes more nuance to the concept of Ma/iko and mutual misery, stating that,

Unfortunately for [Zuko and Mai’s] relationship, Mai is and will always be a pessimist—a character trait, not a character flaw, in her. The key difference lies in how Mai and Zuko use their negative feelings. When Zuko sinks into negativity, he gives up on any actions that will materially change his world for the better; Mai, on the other hand, can remain negative even at the height of her character development, and it does not impede her ability to act.

So while Mai enables Zuko’s depression, Zuko does not necessarily do the same for Mai. Nonetheless, throughout their relationship for the first half of season 3, neither of them communicate constructively or push each other to grow as people.

This may be the third disclaimer I’m making, but I first want to say I have nothing against Mai. However, I do have something against the idea that “[Mai and Zuko] would work so well as friends if they weren’t trying to make their dumpster fire of a relationship work.”

Their relationship is a dumpster fire, yes, but will the flames cease simply if the amount of intimacy in the relationship changes?

comradekatara state themselves that their entire romantic relationship is quite depressing - they are only able to connect through empty physical intimacy and mutual hatred of the world. Without that, there is little left for them to bond over. Once Zuko overcomes his conflicting morality and inaction from the first half of season 3, he becomes someone who is strongly guided by his principles and beliefs. However, for the entirety of the series, Mai is characterized by her moral apathy. To cite from Araeph again,

It is moral intimacy that is the last and worst omission for Mai and Zuko… Zuko’s struggle to find and follow his principles is the most central aspect of his character, yet it is a struggle Mai neither understands nor respects…

Lack of moral intimacy (not sharing the same core beliefs) is something that applies to both platonic and romantic bonds. Thus, just as transitioning from a meaningful friendship to a romance does not inherently create toxicity in a relationship, switching from a romance that exacerbates one (or both, depending on how you interpret it) party’s misery does not necessarily erase the preexisting negativity in a relationship - perhaps some of it may subside, sure, but as long both parties continue to fail at communicating and understanding each other, even their friendship seems bleak at best. In this case, Mai and Zuko may work well as conditional friends, or in other words, friends who are only friends when they have something to mutually be miserable over. And this tiptoes the line of speculation, but they could be a formidable political team. But unless the Ma/iko dynamic shifts drastically in the lovers-to-friends transition, I’m not sure if there’s much potential in a friendship between them.

In conclusion, there is a lot I don’t agree with from comradekatara’s post, but if there’s one takeaway I want to impart onto everyone who’s read this far, it’s this: crossing and uncrossing the line between platonic and romantic bonds is not always a transformative experience for the relationship, and the nature of human relationships is a complex spectrum -- not a light switch that can only be set between healthy and unhealthy.

Thank you all for reading!

[funkin-news]

ninjamuffin ama summary - 9/28/2021

you know the drill, purple text is me paraphrasing, everything else is direct (or almost direct) quote, FNF-related stuff only

Q: What is one common misconception about FNF or its development that you wanna clear up?

A: im not the sole creator, im not some sole director. Each of the boys have very important roles with the game. This isn't just 1 dude having tunnel vision about a game, its generally all us coming to similar conclusions on where we want to take the game and what we wanna do wit it

Q: why

A: because I love video games and I love newgrounds

Q: Do you or the team plan to go back and make the older weeks higher quality?

A: that will definitely happen. both for general polish, and things leading up into future weeks / story or whatever

Q: Why did everyone think Week 8 was gonna come out on the 22nd?

A: accidental "teases" (Dave's MC-related doodle), madness day, general anxiousness bc the devs haven't been sharing much

Q: What kind of QOL changes are being added in the future?

A: charting editor improvements is one

Q: What is the most insane, most likely impossible to happen person you would like to collaborate with, could be Funkin related, could be just a personal project

A: the girl reading this

Q: Is Cassette Girl week 8?

A: no

Q: Is there concept art for the characters, or did they look the same during development?

A: GF looks exactly the same as the first ever drawing PhantomArcade did. There's a few small lil variations for a good chunk the other MAIN characters, one day u will see all them

R: can you explain the old bf icon? or is it just a dumb placeholder?

A: just a cool ass lil icon evilsk8r did during the game jam weekend

Q: Are you letting yourself getting inspired by more different genres of music for future weeks?

A: i think that more a Q for kawaisprite, but that man loves music, and can and does get inspired by anything he listens to in regards to music

Q: Why has the team been so silent about update progress?

A: They do better working in silence than hyping things up; when Week 6 was teased working on it became really stressful for them. Also, element of surprise

R: but youve been silent abt week7 on desktop for months, half a year. & week 8 is like….. nonexistant

A: week 8 isnt nonexistant, we just absolutely do not want to talk about it whatsoever. i said all the week 7 stuff will come with week 8 update

Q: what do you genuinely think about the people thinking you guys scammed people out of $2 million? just curious is all, i’ve seen lots of people talking about it rn

A: i think people are a bit wary about kickstarter, and makes sense when people's coin is on the line. if u want a breakdown of what we used KS coin so far, we spent maybe 2K of it on some development stuff we needed, most other expenses been paid from our savings / donations, etc.

Q: When does the OST come to the backers?

A: Kickstarter vinyl OSTs still need to be manufactured, which would take at least 6 months because of a global PVC shortage, completely out of our control. what is in our control is that we also still need to finish up and finalize artwork for it, the boys wanna make it all perfect. Same goes for CDs, but those should be done way sooner

Q: You got a date range of when Tshirt / Poster / or Pin surveys will be out by any chance? 👀

A: kickstarter tshirts / poster / pin stuff have been coming along nicely and hopefully those surveys should be coming soon, prob next few weeks

Q: Do you guys think you'll experiment with other artstyles in future weeks?

A: yes, cuz we've already done that (week 6) theres a lot more where that came from

Q: if you could isolate one part of the game and say it’s your favorite what would it be

A: the fact that FNF is our pure creative vision, with absolutely nothing getting in the way of that. Open source free Newgrounds rhythm game with crazy zany kawaisprite music, and stylish and charismatic animation and art style. and game been successful because of all of that.

Q: what do you think about people compiling the full ass game and playing it without paying anything

A: that makes me happy

Q: what do you think of all the mods and stuff people has made about your game

A: mods make me happy

Q: any inspiration from doki doki literature club for the weird stuff in week 6?

A: no, but some of the cool lil programming things DDLC did do interest me

Q: How do we know you're working on the game

A: you don't, and really it doesnt matter all too much. we being productive and things are moving forward, and people not believing that doesnt change that

And now, a speech:

i think trying to focus on keeping hype and keeping game popular can very easily be hollow. We have no worry about trying to keep hype or relevancy or anything like that. If FNF popularity shrunk to 0.1% of it's size, we'd be content, cuz that's still like 1000% more than before

"before" referring to anything we did before FNF.

you can lose success just as easily as you got it, and for FNF, it got successful INCREDIBLEY fast. With that in mind, it's just the nature of things if it all loses relevancy.

So far FNF doing good through the year, but if it wasn't, it's no real sweat off our back.

Although it's uhhh easy to look at it that way from our perspective. Get back to me and see if my thoughts on this has changed if FNF is forgotten from all memory.

Q: will there be a sequel to the full ass game? Like 'the full a2s game' or something clever like fast & furious movies do

A: friday night funkin: tokyo drift

[wolfstar-in-color]

July Creator Spotlight: Desicosplay

Hello, lovely people, and welcome to our second creator spotlight!

Each month, we will highlight a different creator in our lovely fandom who features diverse characterizations of Sirius and/or Remus. We will invite you to get to know them better through questions and answers, Fandom Discourse(tm), and a featured prompt created by our guest.

For our second spotlight, we are absolutely honoured to having the presence of @desicosplay, an incredible cosplayer and writer that if you don’t follow, you should do right away. They’ve gifted us with many, many amazing gifsets, a lot of them about Sirius. Below you’ll see a little snippet of the interview and Mastani’s prompt. Under the cut you’ll be able to read the full interview. Don’t forget to share and interact with this post, and if you have anyone you’d like to recommend for a spotlight, shoot us an ask!

“Diversity means celebration. So in fan spaces, that means actively seeking out creators that you might otherwise miss. It means trying out new perspectives, or listening to new perspectives on your favorite characters. It means standing with your peers, being loud in your love and support of them. I’m not saying you have to reblog or comment on everything. Diversity is not just visual, it’s also mental. Diversity needs to be intentional and active, even if that takes place just in your head.”

Mastani’s prompt: Muggle AU! Sirius and Remus at Harry’s sporting event!

Hi! I’m Mastani, she/they/he pronouns, I’m a 1.5/2nd Generation Indian-American, and I cosplay and write fanfiction!

Q: How did you start creating in the fandom? What did you wish to bring into the fandom?

A: Almost five years ago, Laina @ohtheclevernessofme1972 convinced me to join the HPRP community. She and everyone else were so supportive of my desire to bring my culture and background to the Harry Potter characters. Eventually, I also started writing fanfiction again!

Q: What things about s/r as characters or in their relationship inspire you to create around them?

A: I think that they are very complex characters that really demonstrate how external factors affect your life, whether you like it or not. Their relationship, whether platonic, romantic, or anything in-between or outside, is also so fascinating in its potential to evolve. Wolfstar is constantly changing, and all its interpretations are totally feasible to imagine.

Q: What things would you like to highlight about the Wolfstar fandom and your experience in it?

A: My main dips into the fandom are when I cosplay Sirius, and every time, I feel so much love. The fandom is so open to any interpretations of Sirius, and it does wonders to make someone feel accepted.

Q: What type of content do you wish you saw more in the fandom?

A: This is entirely self-indulgent, but Godfather/Uncle!Sirius just make me feel so warm inside. There’s a love inside Sirius that only gets touched upon inside the books. AUs where he gets to interact with Harry as a child or teen outside the pressure of a war are just so calming and warming.

Q: What is your favourite wolfstar fancontent (fic/fanart/gifset/etc) and how does it inspire you?

A: Y’all, I have so many Wolfstar fics saved that are just stunning and several that are comfort fics. I think the biggest takeaway from all of them is the comfort the boys find in each other. All of them are AUs, and I’m inspired to depict my Wolfstar as something kind, gentle, and communicative.

Q: Which of your own identities inform your creative processes? How has that process been for you?

A: All of them! But more specifically, my racial background informs most of my process. My process is… Sporadic, to say the least. However, when I do get struck with an idea, I have to create it almost instantly. One example, Wolfstar-related, is that my Sirius cosplay has long hair, half-up in a bun. I feel like desi!Sirius would celebrate his heritage by growing his hair long, which also is a nice, “screw you,” to societal and familial constraints.

Q: What advice do you have for other content creators with diverse backgrounds in the fandom? What would you say to people that might feel they don’t have the “right” history/experience/characteristics to participate in the creation of content related to Wolfstar?

A: think the best advice for participation I have comes from the iconic Jay @siriussly-serious, Rest in Power. “Go. Get in. Dive in. Fucking head first. Fuck that, cannonball your butt right in there and make a damn splash…” There is no, “right,” history/experience/background. These characters are fictional, but they can reflect our world. Our world is not homogenous. So why should fictional worlds and characters be that way? These stories are ours, and we shape them to be whatever we want them to be. If you want to create, that’s all the prerequisite you need.

Q: How could we build a more diverse fandom?

A: This blog is a great example of how to build a diverse fandom. Celebrating creators with diverse backgrounds and being loudly supportive of them makes us want to stay. Finding communities that celebrate, not just accept, can make a world of difference. So, raise your voice and love on your favorite creators.

Q: What’s your favourite thing to modify in Sirius’s or Remus’s characterizations to bring new perspectives to them?

A: I’m a huge communicator, so improving character communication is something I love to do. I like to create fluff, and this change lets me focus on the gentler parts of Sirius and Remus, or the parts that need some love, e.g. mental health. It also lets me flesh out their senses of humor more, like their dislike of cats (in my headcanons).

Q: What does diversity mean to you? What does that encompass in fanish spaces?

A: Diversity means celebration. So in fan spaces, that means actively seeking out creators that you might otherwise miss. It means trying out new perspectives, or listening to new perspectives on your favorite characters. It means standing with your peers, being loud in your love and support of them. I’m not saying you have to reblog or comment on everything. Diversity is not just visual, it’s also mental. Diversity needs to be intentional and active, even if that takes place just in your head.

Q: What are your ideas about the notions of culture and ethnicity? How do you relate to those notions?

A: I find culture and ethnicity to overlap in many ways, as they both pertain to group characteristics. I’m not an anthropologist, so I don’t know the detailed differences between the two. However, in my quick searches, it feels, to me, that culture is a bit broader and ethnicity is more geographic. So, I’m culturally Indian-American and ethnically Gujarati Indian (Gujarat is the state in India). I find these notions to be helpful when defining and describing my experiences. For example, among desis (and other brown folks), saying I’m generation 1.5/2 tells them that I straddle American/Western and Indian culture. If I tell another Indian that I’m Gujarati, they instantly know the kind of foods I grew up with and the language my parents speak. It’s a streamlined way of explaining my experiences, and as a science brained person, it makes life easier for me.

Q: Is there a page/organization/institution you would recommend for fans to search/read when it comes to learning about diversity?

A: With the tool that is social media, there are so many activists and creators that are willing and able to teach about diversity. On my page, I keep a page titled, “Resources for Justice.” This page has a wide variety of social justice resources on it. Google is great, but you also want to cross-check your sources. However, I feel like the best way to learn is to ask questions. Do so respectfully and ensure the person you’re asking has the energy/time/compensation to answer. Especially if you’ve done some research ahead of time, I find that many folks are willing to have a discussion - but again, check with the person first. Trust is paramount in these conversations.

Q: Is there a project/organization that you want to hype?

A: Oh, I could name so many. However, the ones I want to shout out here are Chrysalis - Gender Identity Matters and Raze Collective. As many of you know, Jay @siriussly-serious passed away recently, and in his name, we’re promoting/donating to these charities. Chrysalis - GIM offers online and in-person mental health support for trans and nonbinary people in his area and Raze Collective supports LGBTQIA+ performers. Ami @ami-acts and a few others (I apologize for not remembering exactly who - I’ll message the mods if I remember/please add on if you know) organized this. Links are below.

Donate to Chrysalis - GIM here.

Donate to Raze Collective here.

Q: Leave us with a quote or work of art that always inspires you

A: Is it too cheesy to say all of our fandom? To be totally honest, that’s who/what inspires me most of all. It’s a work of art, all the people in it make our fandom a work of art!

[captlok]

Pacifism Isn’t A Character Trait

Or: MLK Day is Upon Us so Let Me Do You a Learn

Or: As An Aang Stan I Got a Bit Over-Zealous But Lemme Explain Why For A Hot Minute

Plus some History and Tumblr commentary that even non-ATLA fans can chew on

And by ‘hot minute’ I do mean this is going to be a long meta, so strap in.  For those of you who just might be tuning into this debacle, I, a person who has not used Tumblr, much at all, except for the last half year, ran into some trouble. 

If you wanna skip the whole TLDNR interpersonal stuffs and get straight to Why Aang is the Best Thing Since Sliced Bread, I will embolden the relevant parts, and italicize the crit of Korra, if you want that alongside.

I was excited that ATLA was seeing a resurgence due to the Netflix remake. I wasn’t even trying to apply any steep expectations for it. (learned not to do that the hard way with the last live action adaption, and to a much lesser extent, ATLOK, since it had good . . . elements, *ba dum tsshh*) 

So, these are a couple aspects of the issue: (1) Even on the internet, I am extremely introverted and until recently mostly came for content, not socializing. My main online interactions thus far have been in forums and artist-to-artist on DA. Tumblr is still very strange to me because it splits up its ‘threads’ so you can’t see all the replies if a certain pattern of users responds in their own space. I’m not even 100% sure it’s in chronological order, and replies are not nested next to each other so you can look in the comments and someone will be replying to something you can’t see in that window. And also since it is a bizarre hybrid of a blogging system, posts are somehow considered ‘owned by’ or an ‘extension of’ OP in a way forum threads are not. (2) ATLOK was good in a cinematic and musical way, to be sure. It also had some good concepts. I can go into it just appreciating it for the worldbuilding and be somewhat satisfied. But the execution was terrible. I was on AvatarSpirit.Net for years, and If I had maintained my presence on ASN to current day and had gotten around to downloading their archive now that the forum is dead, I would include some links to other peoples’ detailed analyses on just how flawed both the plotting and Korra’s frustratingly flat learning curve was especially in the first two seasons. But, that is a task for another day, and only if people are interested. 

No, what I’m addressing today, on the issue of Korra as a writing exercise, is how Mike and Bryan said specifically they wanted to make her ‘as opposite to Aang as possible’ and in so doing, muddied the central theme of the original ATLA series.

Now, again, I was mainly an art consumer for my first major round of ATLA fandom. Tumblr is an alien beast to me. But, after I write my first major Aang meta, talking about how amazing it is that he has the attitude he does, and how being content in the face of this overwhelming pain and suffering is an ONGOING PROCESS and an INTENTIONAL DECISION and not a simple PERSONALITY TRAIT, I start hearing that Aang gets a lot of hate from the fandom. Now this would be bad enough if it were merely people not liking his crowning moment of pacifism because they don’t understand the potential utility (I’ll elaborate on that in another post) or the ethics involved.

Aang is easily the most adult member of the Gaang. But he apparently gets hate for his few moments where he actually acts his age, a preteen, and maybe kisses a girl in a historical timeframe in which ‘consent’ discussions were probably nonexistent. Even in the present day, we are still practically drowned in movies that reinforce this kissing without asking trope. And even some female bodied people complain that asking kills the mood! But somehow he is responsible and reprehensible for this, even though the first time she kissed him back. I’m only going to get into the pacifism discussion today, but that was just another layer of annoyance bouncing around in the back of my head.  Other peoples’ crit of Korra that was stewing in my subconscious, plus this Aang bashing, which thankfully I had not directly read much of, made up the backdrop of gasoline for the match that set it off.  Even that seems a pretty melodramatic way to phrase what I actually said, which was: Aang, on the other hand, lost dozens of father figures and was being steamrolled by Ozai who was gloating about genocide TO HIS FACE, yet he still reigned in all that quote, ‘unbelievable rage and pain’ (The Southern Raiders). We Stan Aang, the Superior Avatar. No I did not f**king stutter. #AangSupremacy In another meta, someone complained that I was too defensive of Aang as a character and didn’t apply literary analysis enough, which I quickly rectified.

What set this off? Someone was kind of indirectly praising the line from Korra,  “When I get out of here, none of you will survive” To them it was emotionally resonant or whatever, and I have to point out that no, it was a martial artist not having control of their state of mind, as is the bedrock of the practice. It was never addressed by the narrative, which is a severe oversight.  I had a conversation with someone in the chats, making this distinction between Korra’s character traits and life philosophy. If she were to kill people while enraged and she was fine with that, that’s one thing. But if she regretted it, that’s a whole other kettle of fish. People argue that she comes from a warrior culture, unlike Aang.

Never mind that warrior monks are a thing. That’s what Shaolin monks are. You can be a pacifist and skilled at fighting. Those things are not mutually exclusive, which is the whole point of Bagua, Aang’s style.  And also, Katara’s style. 

That’s one reason I like Kataang so much- their congruent styles. Both of their real world martial arts are dedicated to pacifism, even though ATLA specifically doesn’t spell that out for Katara and her learning arc. 

There was a meta where someone briefly tried to argue that knowing “martial arts” is against pacifism. No. Quite the opposite. I’d argue that you are not a true pacifist unless you know exactly how to handle yourself if someone attacks you.  If you are not in a position to make conscious decisions about how much force to use, rather than merely operating on survival instincts, that is not pacifism. Or at least, not any energy or effort towards pacifism as a practical everyday tool.  I’ve made a few attempts to learn some tai chi and aikido, and it’s improved my physical and mental health, but some other things have gotten in the way. #lifegoals

I’m not going to tag the unfortunate soul whom I was replying to, because they’re probably tired of all this, but I’ll be sending them a PM to say that I’ve made this into a different post, because as I mentioned before, threads are somehow considered “owned” by OP, so it’s been pointed out to me that I should separate it.  I also said, I have basically ZERO respect for Korra uttering violent threats when the writers already minted a far more emotionally devastated and yet still resilient and centered character earlier in their franchise. People always try to excuse away people who genuinely like Aang more.  As if it’s just nostalgia or whatever. For me, no, it’s absolutely not. It is respect for a character who stands toe to toe with real people who are kind in the face of overwhelming injustice. (I have another meta on that). 

Both OP and people in the chats try to make excuses that she wasn’t raised as a pacifist, and that would be fine if they had addressed it with Tenzin and she had stated outright that she was rejecting pacifism and mind training. As it is, we are left with this nebulous affair where the lines between ideology and personality traits are blurred. 

We are told she “has trouble with spirituality” but what does that even mean? Does she have trouble with focus? Does she have trouble relating to the canonically real spirits? And pacifism specifically nor inner peace that it flows from is never even talked about as an extension of spirituality, which is canonically tied to airbending.

“Aang didn't have to deal once with the loss of his autonomy in atla” OP claims.

This was after I had noted that Aang was getting kicked around by Ozai and was most likely going to die.  Similarly, someone in the chat rejected the idea that a 12 year old trapped in a stone sphere that is heating up under a cyclone-sized blowtorch feels powerless. 

Sorry but that’s flat out ridiculous.

No one wants to admit that both of these people were faced with similar situations, and when push came to shove, one showed his LIFE PHILOSOPHY through conscious effort, and the other was abandoning the basis of martial arts, which is, no matter what the situation, keep thinking. Hold the panic at bay. Non-attachment would have served her well in this situation. Tenzin should have told her this. Before, or afterwards. It should have been addressed in the writing.  

People see this as “bashing” Korra, and oh well, can’t help that. If I think the writers didn’t follow through on their themes, that is my concern.  OP said I was “offended.” No, not really. 

I wasn’t offended by the post itself, or its commentary. Thought I made that pretty clear.

This is not dramatics. Let me be blunt.

As a ideological pacifist, and an actual practitioner of meditation, based on Buddhism, NOT just the fan of some show, I am for calling out writers who write one way from the survivor of genocide, and then stray from that ‘thoughtless aggression is immoral no matter HOW hurt I am’ to ‘let’s not address this character’s aggression in the narrative whatsoever.’ OP attempted to derail by accusing me of being racist or sexist against Korra. Also ridiculous. It honestly should have set me off more, but it didn’t. 

Meditation is about reigning in your emotions. Managing your anger when it gets out of hand, and digging down to the roots of it. Being responsible for your own behavoir. Acknowledging ownership of your own actions. Not blaming anything YOU DO on anyone else or any circumstances in your life. Like an adult, or should I say, an enlightened adult.

Or at the very least, that is the ideal ypu strive towards while being imperfect in the present.

. . .

Now.

I’m going to quote a passage in a Google Doc of mine, even though I’d really prefer if you asked to read the whole thing, with context.

“What do humans do when it is necessary to, or greed makes a nation want to recruit?

They go to the army to get trained, right?

Granted, having someone scream and get spittle on your face is, in the grand scheme of things, poor preparation for having bullets whiz past your chest and grenades shatter your ears. And, what do you do to prepare you for the pain of getting your leg blown off? Hopefully, nothing. Like taking a test where you only got half the study guide. But, it’s about the most ethical way to go about it, right?

Not everyone even sees action. So any more more extensive mental preparation for physical pain than that, and you’d have people definitely protesting.

Well, as it turns out, pacifistic protestors themselves, if they were in the right time and place, also very intentionally do this type of mind training. Except, when they did it, they actually did sit still and took turns roughly grabbing each other and throwing each other down and in some cases, even kicking and bruising each other.

Turns out, those pacifists are, in some ways, more hardcore than the army.

Why is this?

Because a pacifist’s aim, unlike a unit, who wants to gain the upper hand in a situation, is to grit their teeth and grind their way through all those survival instincts, and totally submit.

In this, they aim to get the sympathy of the public, who clearly sees they are not aggressive, or a danger, no matter how much the footage is manipulated or suppressed.

In this, they hope to appeal to their attacker’s better nature.

Make them stop and think, wait a second, are these people a threat like we’re told they are? I’m attacking someone who’s letting me beat them up. Or a bunch of people. All forming a line, and letting us peel them off. Or sitting, and bowing their heads. If I’m on the ‘right’ side of things, the law, why am I doing this?

It’s not like a bully, who’s just a kid.” They’re more self-aware.

And might I add the situation influences a pacifist’s actions too. There’s no reason to let a single or a few random attackers beat you up if you can evade or disable without permanent damage.

Pacifism is a dynamic set of responsive actions informed by values. Not a proscribed set or a checklist.

But in terms of organizing against state power, and recording wrongdoing, which unlike during the Civil Rights can happen from all angles from smart phones nowadays, these are the motivations.

“So, the pacifist knows this, and that’s why they go through all that trouble of training themselves to, not only submit, but not turn tail and run, either.”

See, a character trait is something like being a morning person, or ways of handing information, or a given set of emotions a character feels. Once you cross over into actions, you must make the distinction of whether an impulsive character agrees with their own uncontrolled actions, or is embarrassed or remorseful. Those are life philosophy. Now sure, one type of person or character may be more likely to subscribe to pacifism, but there is no gatekeeping on what you have to feel or how you look at things. You can be easygoing, or feel all the rage in the world, but as long as you at least attempt to have a handle on those desires and feelings to where they do not cross into actions, you are still doing the work of metacognition, which is what martial arts and its accompanying mind training are for.

It’s what we see Aang do.

He’s informed us, during the Southern Raiders, on how much rage and pain he feels.

Pain points, TRIGGERS, that were directly struck at when Ozai gloated over him.

He joins with all the past Avatars for several moments, and just like every other time he is in the Avatar State, he is enraged. He wants to exact revenge on the unrepentant grandson of a baby murderer.

We see it when he turns his head away, face still screwed up in anger.

For another example, I could cite my difficulties in being aware and reining in my tongue sometimes. I know the roots of these issues and I seek to let them go.

It’s just that process takes way longer than Guru Pathik would have us assume.

In fact, I would even say that Aang’s portrayal throughout the three seasons is not strictly a realistic representation of at least the sad side of grief. I addressed that a little when I talked about real life figures. But what it IS, is a metaphor that cuts very deep to the heart of pacifism. As I showed in that Doc . . . There is no limit of suffering a pacifist is willing to go through, internal or external, for the preservation of peace.

This was demonstrated during the Civil Rights, and with Gandhi and all his followers beforehand, inspiring them. The pacifists’ method of swaying hearts is probably the reason BLM exists in such numbers as it does today. Will the types of narratives that correspond with their full stories of the way they collectively planned and trained for and approached conflict make it into fantasy media? I’d say, probably not. For a host of reasons.

It could be hoped for, I guess.

But we DO have Aang.

As for myself, whether speaking sharply is an “action,” per se is up for debate- certainly it doesn’t seem to violate the non-aggression principle put forth by the vision of a “stateless society.”

For another example, let’s take my explanation at the beginning. I am examining how circumstances affected my actions, and now am attempting to fix it, if indeed it needs to be fixed. 

At least one person said that it not so much what I said, but how and when I said it. I don’t actually think I’ve said anything “wrong” per se. So I have to figure it out. 

[I’m considering splitting up this next part into a second post, as it only slightly relates to pacifism itself and is just kinda some more commentary on Tumblr itself- Tumblr discourse, as it were]

[I’ll put more brackets when I’m done in case you want to skip this part as well]

An interesting social difference between Tumblr and other places is this command you often get, “don’t chat/reblog/message me back.”

This is interesting for several reasons. For chats and reblogs, other people may be following the “conversation,” so it’s actually pretty rude and presumptuous to tell a person not to respond to whatever you said, because other people watching still may be interested in your take.

In a forum setting, if someone involved in a conversation doesn’t have anything left to say, usually they just don’t respond.

This method would work perfectly fine for Tumblr, but for some reason, maybe its super odd format, probably due to the “ownership”/“extension of self” I mentioned at the beginning of the essay, people don’t tend to do this.

Now, in comment sections, sometimes you’ll run across an amusing sort of “mutually assured destruction” where two people both say this to each other. You’d better stop responding. Omg just give up. Why are you still arguing. Etc.

But see, no matter where this behavoir pops up, and no matter who starts in on it, those who do this usually want to have the last say on the matter.

Instead of merely not replying, they want to assert verbal control over the conversation.

Tumblr, in its weirdness, is also sort of like a mutant comments section. You can post comment section threads as your own post.

Which is one reason why I’m puzzled when people say ‘don’t read the comment sections’ when Tumblr is so popular.

I’m an oddball in that I browse comment sections for fun.

Probably due to alexithymia, I didn’t really comprehend the emotional toll it takes on many people, so the warnings to “stay out of comment sections” read to me like “hey don’t eat that dessert.” After I’m done with the ‘meal’ of an article or art, I like to see what lots of different people have to say about it. The fluff. Anything vitriolic I either blip over, or extract anything useful, or if I judge the person is reasonable enough, I might engage.

Sometimes I mis-judge on how reasonable someone is, and I shrug and move on after being cussed out or whatever.

In this, I suppose I succeed much of the time in being a verbal pacifist.

[But let’s get back to the more serious stuff.]

We’re talking about what is done in life or death situations, here.

For myself, I may in the near future be working more with dangerously mentally ill people. I’ve had a little exposure to it through various means. Nurses are obligated not to retaliate against patients, and those who have, have been fired in some situations. Again oddly, this is not primarily what triggers my anxiety. Unfortunately enough, this requirement has also resulted in nurses getting seriously injured and violated. I hope to influence whether “no harm” techniques such as tai chi and aikido and arm locks may be allowed. The voluntary philosophy I was luckily already on board with is enforced by bureauacracy, directly relevant to my potential profession.

Were someone to get involved in a dangerous profession, such as a police officer, their moral duty would also be to own up to any spur of the moment anger or fear they acted on. 

It’s just that their bureaucracy acts differently, in excusing their actions.

Ideally, they would be taking steps far in advance, to avoid this often-cited fear of death reaction. As training pacifists like Aang do. 

And yes, army people are trained differently than police officers because the army, often, even when threatened, is supposed to avoid engagement or deploy deterrents that are non-lethal almost all costs, unless ordered otherwise. Whereas American police are given pretty much complete discretion and often not taught de-escalation techniques. Even police from other nations are better trained in that regard.

Enter the ironically named @avatarfandompolice whose account description should really speak for itself. Combative, dismissive, and their attention-hungry bread and butter is to find people they think it’s acceptable to ridicule.  They basically tried to say trauma was a valid excuse to take out your anger on other people, and in this situation, potentially kill. 

Now, does this hold up in the real world? Yeah, sometimes. Especially if some law breaker or law keeper has not been given the anger management tools, they perhaps could be excused, or better yet, rehabilitated.

But especially if anyone finds themselves in dangerous situations, or intends to put themselves in such, it falls to them to do this preparation.

As an aphant, I am at a bit of a disadvantage, compared to an average martial artist, being unable to visualize an attacker. But I still attempt it.

As the main “police officer” of the world- the coincidentally blue clad figurehead that is supposed to keep order, it is apparently fine for Korra to not do the work Aang did to keep level. To blow it off as too much trouble: clearing the First Chakra of fear. For herself or others. And its resultant anger. Had she had access to the Avatar State, the authority figure pretty much would have killed people.  This is what the “fandom police” and a certain chat goer ultimately support. Maybe they didn’t understand it that way, and since the second had blocked me, they will also never see this explanation. Unless I were to share it in Google Doc form I suppose.

So, I responded. “Remember kids, you are not responsible for your own behavior if you have the excuse that someone else did something bad to you.” A frighteningly common sentiment on this site.

When it’s low stakes like CAPSLOCKING or internet fights, that’s not such a big deal. But what happens if this attitude leaks into the real world? This isn’t even about Korra or Aang anymore, it’s about toxic mindsets. I didn’t know fans taking pro-Korra posts as anti-Aang was a common in the fandom. I’ll say again I’ve only just gotten really active on Tumblr like the past few months. This is about pacifism itself. MLK and his hardworking, training followers (yes some of them sixteen and POC and not super-powered like Korra) facing down firehoses and staging sit-ins long trained for would shake their heads at this defense of reactionism. 

Pacifism is not a Personality Trait.

It is deliberate actions and preparation taken over a period of time.

Then the “fandom police” tried more of this, and these two conversations ensued, the comments with another user resulting in the title and main thesis of this essay:

https://captlok.tumblr.com/post/638777472806273024/avatarfandompolice-response-to-my-independent

https://captlok.tumblr.com/post/638806142933467136/the-plight-was-not-what-i-was-getting-at-it-was