#I don't mean this in a negative way by the way

[ilikeyoshi]

"#yes yes yes!!!! #and ngl it makes me want to read or engage with it more too!"

i hope it's ok to point out these tags bc this is SUCH a huge mood i think deserves a little more explanation!!!! (at least from my perspective as both a creator (writer) and fan (of artists))

i used to have a ton of anxiety when creating and especially sharing my works, and my impulse was always to talk down on it, because a) i* (*my anxiety) believed it to be bad, and b) because i had this idea in my head that if i lowered people's expectations, they wouldn't be as disappointed when reading it.

i want to tell you what i've learned in my years of both being a writer and being a fan of artists, and it's that this is a terrible, terrible anxiety fallacy (like so many ideas/misconceptions borne of anxiety are) that ONLY hurts you, your work, and your potential readers(/fans/etc). it SOUNDS like a good idea when you have really bad anxiety, i know, i used to DEPEND upon this idea just to have the courage to SHARE my writing—and i want to emphasize that it's OKAY if you've done this before, it's an easy, easy trap to fall into, but i also want you to try and stop doing it because there are a lot of reasons you would feel better and do better for doing so.

you are what you practice! if you only ever focus on or speak about the flaws in your art, you WILL feel negatively about your art. my very first therapist explained it in a way that still really resonates with me: you have created a well-beaten, highly trafficked "road" in your brain. it is very easy to take this road because even though it's longer to your destination, it winds and bends, it's walked on so much it's flat and easy to traverse. when you try to build a NEW path—in this case, a path where you focus on what you like about your art—you're starting with no path at all. it's all undergrowth and vines and thorns and it hurts and it's tiring and you feel like this will NEVER be easier or feel better than the old path. but you have to keep taking the new one. you have to beat down the undergrowth until it recedes, cut down the low-hanging branches until you can walk with your back straight, and if you keep at it, if you keep at this thing that feels so pointless and stupid and hard, eventually, the path will be clear, and easy to walk, and you'll make great time getting to your destination because it cuts straight through; no winding or bending. and the old path? it will overgrow, and it will become hard and stupid to take. you have to beat the new path because once it's beaten, it'll be the far superior path in every way, including ways the old path was never superior even when it WAS the one you were always taking.

further—as these tags point out, and as i agree with wholeheartedly—by disparaging your art, you DO lower people's expectations. people don't want to be sad, frustrated, disappointed when they look at art—at least, not unless the art itself is trying to tell a story about that. you get what i mean, i hope—they don't want to go INTO something they already HAVE negative reviews on—your reviews! you, the creator, have already told this person the story/art/whatever is going to be bad, and i know, i KNOW it's not your intention, you're hoping someone will see through what you can't and tell you no, no, this is good, i liked this! and some people do! but you make it a lot harder for them TO do that when you tell them right at the beginning, "this is going to be bad, i don't like it," because what you're unintentionally telling them is, "and you probably won't like it either." the first way i learned this was in people always saying in their fanfic summaries, before you even open the fic, "the summary is bad, i'm bad at writing summaries, the story is better trust me bro." because what this does—again, so unintentionally, i KNOW what you're trying to do because i've been you—is you're telling the reader, "here's my pitch, here's the hook to my entire story, it's the worst part, it's bad, but the rest will be better," and what they KNOW is they've already put the time in reading the summary, and it's hard to commit MORE time to something when you've already told them it's bad, even if you promise the rest is better. it's like biting into a fruit and you hate the taste of the skin; it's harder to try the rest of the fruit when, so far, it's been bad (or you've been made to believe it's bad).

so what's the solution? how do you begin beating that new path? well, it depends on you. everyone's a little different in how they navigate stuff like this. but what worked for me, and what might be a good place to start (and by all means adapt as you figure out what works and what doesn't), is start by just NOT saying anything negative. no, "i don't like this," or "the summary's bad, sorry," or anything. write your artist's comment, author's note, whatever as normal, and REMOVE anything that depicts your art/writing/etc in a bad light. just don't give people any opinion whatsoever on what experiencing your creation is going to be like. this, for me, was easier than jumping straight to, "i'm pretty proud of this," or "i enjoyed working on this," because it wasn't withholding AND replacing, it was JUST withholding. going back to the roads and paths metaphor, i think of this part as the "taking a breather before i get to work on this monumental task of beating this new path" stage.

then, overtime, i started "stretching" my positive comments about my works. if i liked, say, TWO LINES out of a whole piece of writing, i'd say, "i'm really proud of this work!" because i AM proud of ANYTHING AT ALL, NO MATTER HOW SMALL, within the work. it's not a LIE, to anyone including yourself, but it is, perhaps, an EXAGGERATION. that's OKAY. we're trying to teach our brain to look on the bright side, to take the new path, and i've found that treating it a little bit like a dog—giving it a treat for ANY TINY BIT OF PROGRESS, was a good way to encourage myself to start making MORE progress. ESPECIALLY because the tags i reposted above are RIGHT: LOTS of people are MORE interested in a work when their very first impression (YOUR impression!!!) is positive. 'the artist/writer/etc is proud of this? oh, i'm so glad they had a good time creating, let's take a look!" it probably sounds too easy if you're still taking that anxiety-beaten road, i know, but try to think of how you've felt when someone disparages their creations versus uplifts them. were you put off by the negativity? were you sad that your friend worked so hard on something and didn't even like it? conversely, doesn't it make you a little excited when an artist says they really feel good about something they made, especially in a world where so many artists ARE feeling inadequate? i hope you see what i mean.

it's not an overnight thing, of course, this took me YEARS. this took a miracle that doesn't happen to most people: i wrote something i felt SO TERRIFIED people wouldn't like, even though i was secretly very proud of it (but too scared to dare suggest i was proud of it), so i indicated all kinds of things like "i hope you like it, i dunno if it's any good, it's just a little thing i'm chipping away at in my spare time" (it was not, it was a full-blown passion project) and, against the odds, a LOT OF PEOPLE told me they really really really liked it. a couple of friends who were decently popular in the fandom it was for liked and shared it and i got A LOT of encouragement. i basically got to beat my new path with a HORDE of helpers, and it was more like THEY beat the path for me and i chased along like, "what is happening, oh my god, what are you doing???"

i got really lucky. that doesn't always, or even usually happen. in most other areas of my life, i've had to beat the path myself. and it takes a long time if you're doing it on your own. but you should anyway, because it's so fucking worth it dude. yeah, it was awesome to get so much help with my writing confidence specifically, but it's been just as worth it every time i've had to do it alone too. and i have good news! there ARE ways to tell people you're on this journey of making yourself a new path. here are some suggestions:

"i'm new/rusty at this, so please let me know what you think!" - informs potential readers/viewers/etc you are learning and gives them an opportunity to HELP you learn. this is a positive interaction! this allows people to find a GOOD experience EVEN if they didn't enjoy the story much, because they can help, and people DO, MOSTLY, like to help.

"i want to improve at [dialogue]" or "i'd appreciate advice on [lighting]." - similar to the first example, but does 2 things: gives viewers specific instructions that can be really helpful for those that aren't sure how/what to critique (surprisingly common thing; the more specific you are about what you want advice on, the more likely you are to GET advice), AND allows you to, neutrally and non-disparagingly, ask for help in areas you don't feel confident about.

"leave a comment if you liked it!" or "let me know what you liked best!" - listen. i don't think 'fishing for compliments' is bad as long as you're not being manipulative about it. these examples are very clear in what they're asking for, which is compliments, positive reviews, etc. and that's okay!!! first of all, lots of people LOVE praising works they like, i promise, and asking them to DOES make them feel like they have "permission" to (i know that sounds silly but i also know if you have anxiety about creating, you have anxiety about commenting, i see you, i was you). secondly, i have gotten the MOST encouraging, confidence-boosting comments this way, especially with the latter example. there is NOTHING more immediately anxiety-curing than a comment that says "i liked [scene/dialogue/character/etc] specifically." it's AMAZING. (also, if you're looking for advice on commenting, this is a GREAT thing to do. imo, this and "speculating/interpreting the work" are the two coolest comments i get they make me feel AWESOME.)

remind yourself, as many times as you have to, CONSTANTLY if you have to: likes/kudos mean someone enjoyed your work enough to press a button. views mean someone liked your work enough to click through for more. these are POSITIVE interactions, they are not "less positive" than comments or reblogs/reshares. i know those last two things are more obviously gratifying, and depending on if you NEED your work to spread (for exposure/commision prospects/etc), very good, awesome ways to support you, and i don't mean to say you shouldn't WANT comments and reblogs/reshares. but for me, it's helped me a lot to recognize that any bit of effort whatsoever means someone LIKED my work. it's also helped me to think of all the times i've shared a link to an artwork in a discord or something, and know that there is an entire, untangible metric i can't and will never see that, sure, i can choose to believe doesn't exist or isn't very high, but i can ALSO choose to believe it happens quite a lot, and the latter makes me FEEL better about my work and makes me want to create MORE, so i think that's the more productive mindset personally. it doesn't matter what the truth is, you know? we'll never know it and it doesn't harm us to never know it. but it DOES harm us to assume no one quietly, unseen by us, likes our work, and it DOES ENCOURAGE US to assume lots of people do.

here's the thing: anxiety disorders fuck you up by making you believe extremely negative, scary, depressing things. the disorder gets worse the more you allow it to make you believe these things, and the only way out, as stupid and hard and at times impossible as it feels, is to say, "no, i don't like that interpretation, i'm going to replace it with a positive one." anxiety is making paths all throughout your brain, and you have to just, make paths too. anxiety needs YOU to make paths, but YOU don't need anxiety to make paths. your paths WILL be better, safer, easier and happier. you just—and i know that is the biggest "just" ever—have to make them.

but i believe in you. i don't need to know you or your circumstances to believe in you. i believe in the sheer amount of control you have over how you face the world. and it's so much more than anxiety would lead you to believe.

i looooove seeing artists & writers proud of their work!!!!! i looooove captions & authors notes that say things like “i’m quite happy with this” “i love how this turned out” “i had so much fun making this”!!!!!! i loooooove when the act of creation is joyful & we take pride in what we make!!!!!!!!!!

[astrofhobia]

Kat, Earth's voice actor.

So, recently Davis spoke out on a situation that came up in The Lunar and Earth Show fandom.

From what I understand, Kat, Earth's voice actor, is receiving a lot of hate, not only against her characters, but also against her for one of the most recent videos.

I never give my opinion so publicly but I think it would be good to show support for Kat.

It's stupid. All those people who come here to talk nonsense about Earth stepping out of her role of being the good and positive one are very stupid.

All or most of the cast have been through morally negative situations. Moon has abused his own brother for many years, and continues to do so. And it seems like the fandom is constantly covering its eyes to ignore this. But hey, Earth can't deny someone a hug because she becomes the mean girl and the worst character ever. Can you see how stupid this argument sounds?

Maybe, I understand that when the character was introduced it got negative reviews. Literally, they never worked with anyone other than Davis or Reed and introducing a new VA was to take you out of your zone. But, continuing to look at Kat in a bad way is the behavior of a child.

You can't expect an amazing story either, guys, specifically this group of people who are attacking Earth so much, you're not paying for a video service. You're not spending a single cent. As far as I know, Davis, Reed and Kat have spent money to maintain quality content day after day. The show has been updated every weekday for over two years.

Kat has done her best to adapt to the audience's tastes, not the other way around. She has done her best not to be an empty character. But the people who attack her don't even bother to see how their characters have evolved positively. Earth has such an empty story because the audience doesn't even pay attention to it.

You can't expect to have an amazing, original story if every time Kat holds the mic you look away. It's stupid.

Kat has been a great support for the story of like three different shows. I think these people who just want to hate something don't realize how boring the show would be without an intervention.

It's a disgusting thought to hate a fictional character just because she's a woman. And it's repulsive to hate a VA for being female. Are you stupid? Because that's the first thing I think if your main argument is "She's a woman, we don't need that"

I'm not a fan of any of the three VAs. I don't like them personally, but I'm going to defend them, especially Kat if they get any hate for this.

You can't put Bloodmoon, who tortured, manipulated, and murdered so many people, on a pedestal and throw trash and hate at Earth just for existing. It's stupid.

I understand if Kat has distanced herself from the fandom and doesn't want to have contact with the audience directly. Just because you are a public figure doesn't mean you have to swallow all the hate and keep smiling. Kat is not just a source of entertainment. She is a human being, who has emotions, thoughts and a limit.

If you have crossed her line, the only thing you can do is step back and leave her alone. No one would like to receive immense amounts of hate because their character is not to everyone's taste.

If you are part of this group of horrible people, I ask you to please leave. I don't want those people here.

[niceonejames7]

i love yous and what not

you tell james you love him for the first time

words: 940

genre: fluff

cw: kind of reserved!reader (?), james is an annoying sweetheart

a/n: didn't realise this is another confession blurb. ive been getting too many negative posts (fanwars and all) in my tl so i needed get my head clear. i need to start blocking people don't i.

.....

You were never a vocal person. To tell someone something vulnerable made you recoil into yourself. You liked seeing it through actions. James knew that. But James had always been an expressive person. He liked showing his love, and proclaiming it, and sharing it. Basically, any form of affection. 

Your reluctance had never stopped him. 

He had said ‘I love you’ a month into dating, you hadn't minded it. You already knew he did, and you felt the same. You had only kissed him later, but next morning, it was as if he could predict your words,

“You really don't have to say it. I know you have a hard time with these things. I know how you feel, it's hard not to know. I feel all fuzzy inside when you smile at me" He had grinned down at you as you hid, your face half under the blanket but he knew you were smiling. He could see it in your eyes, and who wouldn't know, he did feel all fuzzy inside. 

So you hadn't said it. At least not as a confession. 

James is terrible company. Terrible because he rubs off on you. You were never someone to wake early in the morning, you still aren't. But your body seems to wake itself to bid him goodbye in the morning, “I'm only going to the gym" He'd say as he kisses your forehead, your body going back to sleep again.

And you had peppered in ‘love you's in your texts, when bid him goodbye, in your notes, magnetic letters spelling out ‘LY’ under his growing collection of pictures etc. etc.

Today's different. He's still annoying with what feels like a weekly routine to cuddle you with cheesy romantic sentences, that you know he means -he knows they make you squeezy- but he says them anyway. 

“This isn't a joke my love, I really would let you stab me,” His arms squeezing your waist as you squirm in his lap, "I'd just be glad you'd be the one to do it." 

You try to be annoyed, but laugh as you make more futile attempts to escape. 

“I feel as if you were made for me. You know that one line," His eyes light up in excitement, your movements still as he concentrates, “I don't believe in God, but I truly believe God made you for me. It's from a book, I think."

“Oh my god, James," You chuckle, your hands pushing on his bicep, but you really only feel them flex under your fingers. 

“What do you want for lunch?" He asks, pressing one last kiss on your lips as he lifts you off of him and goes to get his phone.

“He really needs to stop doing that to me”, you mumble to yourself. 

The next morning, you had woken up as you usually did on the time James left the house. But today he was staying in, you knew this after he proclaimed he's gonna be too tired after last night's activities. You had laughed him off, but you guess he was telling the truth.

You laugh, because he is fast asleep and his lips a little puckered, nose cold to touch. You adjusted his blanket before pressing a kiss to his nose. Then another -then another, deciding those would be the only way you'd warm up the cold.

James was half- awake, he knew you were there, but he didn't dare wake up, his sleepy mind scared that it might be a dream and you'd stop.

Your fingers traced over his eyes, his forehead, his chin, mindless activities to spend time, to rid your mind of the pestering feeling.

It had been present since yesterday, or last week, maybe a month, maybe more. You wanted to say it, but every moment felt too casual, or too formal, or maybe too inappropriate, or too serious. You didn't know what to do. 

You didn't know how he'd react, if he'd resort to his teasing proclamations, or ignore it, or say it back. It was silly to worry about this, there's nothing to fear, it's James. 

You didn't know what made you say it, maybe because he was sleeping, or well- pretending to sleep, or it was the quiet, maybe something else. There was nothing all too romantic about this moment, but you had said it anyway,

“I love you." A quiet whisper, not hesitant or unsure, just nervous. Your pinky finger runs along his nose, it's quite warm now, his whole face is, “I hope you already know that."

He half opens his eyes, just to see a glimpse of your face, it's zeroed in on a curl of his, falling to the side of his face.

 James had known you liked him before you knew. Your love isn't something non- detectable. It was out there, for everyone to see. Unintentionally or not. He had no doubts. He has a million questions if you're saying it because you feel obligated, or pressured or anything else, but he's afraid he might ruin the moment. So for now, He only pulls you impossibly close, his whole body thrumming with excitement, he'd freak out about this later on. Right now he only wants you.

His arms wrap around you, and buries his face into your neck, his warm breath on yours, “I love you, too. So,”- a kiss, “So,”-another one, "much."

He nuzzles into you, and let him, of course you do, fingers brushing out his curls, he continues, “But I think you already knew that." 

[oodlyenough]

more arcane s2 thoughts in no particular order. this is pretty negative. woops

Cait, Vi, Caitvi

despite being what initially got me watching to begin with caitvi just never ended up being my primary interest with this show, so going into s2 it wasn't like I had very well formulated expectations or hopes. I think if I had I would maybe feel disappointed? They had some nice moments, they got the kiss and the sex scene, they're clearly endgame, etc, and that's nice, but it also felt like their relationship was so ... never really the star of the show or focus of the story to the extent I expected it to be. Did they even get a big fight-together battle-couple moment in the last ep, I don't think so? I didn't find the resolution to their Act 1 breakup especially good, I think Caitlyn owed Vi an apology and Vi deserved to be angry for longer than ten seconds.

I generally feel across both seasons that Vi's pain and trauma is rarely given as much weight as other characters', I was pretty underwhelmed by Caitlyn's dictator arc after being extremely interested in it at the end of act 1...

I dunno. I hope their stans liked it and are satisfied getting to see them kiss and have sex and be together and I wouldn't downplay the significance of The Couple in Arcane being a lesbian couple. But I wasn't personally very compelled or moved by it.

Jinx

Like the above I'm not a Jinx academic by any means but I think if I were I would be frustrated by how cyclical her arc was in season 2. And no, having Silco show up to be like "it's a cycle" doesn't really justify the narrative interludes. Isha is a hard sell of a character for me because I don't ... generally want little kid characters around ... and I found Jinx (basically) looking straight into the camera to say "gee you are just like me, Powder, when I was a little kid, which reminds me of being Powder, is this how Silco felt, is this how Vi felt" to be hamfisted. But some of the scenes with the two of 'em and Sevika were cute ... only for Isha to die and Jinx to be depressed, again, and then come through the other side, again, and then "die", again. Like if we wanted to deal with depressed Jinx we started off s2 that way...

I've seen other posts by Jinx fans that articulate much better the ways in which she goes from the driving plot force in s1 and main autonomous actor to just kind of being wafted around by plot in season 2 so I won't repeat them. But I think they are right. I also question the way her mental illness was portrayed -- or rather wasn't... -- in season 2. Powder in the AU showing no sign of illness (despite baby Powder in the main timeline already having some of that going on, pre-Vander death)... I mean, sure, she's got a support system etc in that world, and one can argue we don't spend enough time with AU Powder to necessarily see it, but combined with the Isha stuff it just kind of felt like a weird message.

Sevika

I love Sevika, one of my faves from s1. I was so excited she seemed to get a bigger role in act 1 and then in the first ep of act 2. And then she never spoke again. What the hell man... like damn... really?????!? Not a WORD in act 3? I'm sure this was some of the stuff they trimmed to get that finale down to 50 minutes but god that sucks, so much, in ways a wordless shot of her in the council chamber can't really resolve. Which leads me to

Piltover-Zaun

I have to admit I don't think the class politics in s1 are as good as they were reported to be, so I didn't have high hopes, but MAN is Piltover going "hey we need cannon fodder <3 thanks" not... a reasonable resolution... especially after an indeterminate time of Piltover being EVEN MORE oppressive with Caitlyn enforcing martial law. It was sooooooooo ridiculous. Also, lol @ the show acting like hextech is solely responsible for the suffering of the undercity. If only Vi, Jayce and Viktor weren't around we'd have a equitable utopia. Sure Jan.

Sky

One of the most offensively written female characters I've seen in recent media. A spectacular, zero-effort failure from the writers. What a horrible decision to write this poor girl, a Black woman no less, and give her absolutely no characterization outside of an unrequited crush on a gay white man. In season 1 I could forgive most of it because a show like Arcane needs redshirts and it's just unfortunate they made this particular redshirt a young Black woman. There are so many other complex and developed women in the show, I thought, they can afford to have some minor ones who aren't.

But oh my god season 2. The ghost hallucination which they never even clarify as being "really" Sky or just being the Hexcore or just being his own imagination of guilt because neither the show nor Viktor give enough of a fuck to explain fhglakhdglh. Even posthumously she barely has any dialogue except to reference off-screen conversations with Viktor we never see them have and then die again. "No you won't" ?????? It is ridiculous that they wrote this.

[so-otterly-jaded]

I'm probably way wrong from a professional/medical stance, but personally, if a disability has to negatively impact your life to qualify, then an addiction has to do the same. And I don't mean like people on the Internet having a problem with it, like, it actively prevents you from doing normal people things. It interferes with relationships of all kinds, keeps you from meeting deadlines, makes you actively neglect major things like eating, sleeping, caring for children or pets, etc.

Like yeah, if you're driving out of town for the fifth time in a week to get a specific milkshake instead of taking your sick cat to the vet because then you couldn't afford the gas for your milkshakes, then it's safe to say you have a problem. If you're just looking at porn because you're already procrastinating and you'd just keep procrastinating anyways just with something else, then the problem is not the porn.

this shit is soooooo infuriating to me like some people have trouble climaxing through NO fault of their own—maybe it’s a natural variation of their bodies maybe it’s medication side effects maybe it’s trauma—it’s actually really common and it’s something that makes a lot of people feel really ashamed and miserable… you haven’t “masturbated yourself into dysfunction” in fact masturbation often helps you get better at figuring out what makes you climax like !!!!!!! and even if you HAVE been hitting the vibe too hard recently you can always cool off for a week or two until you get in the mood again. your clit isn’t ruined forever. christ. this chewed-gum approach to sex simply does not have a basis in fact. pleasure is not a scarce resource

[thingsidrawgohere]

Alright. I'm calling it done before it kills me. This is Second Head. It's an Art Book containing instances of the phrase "second head" in fanfics found on AO3. I'll explain much, MUCH more in the cut.

So when I say 'art book', I mean this is an intrinsic piece. I have no motivations aside from personal amusement and interest in outcome. A lot of money was lost/transmuted into free frustration in this project and I have no claims, obviously. I will prolly be the only person alive to read this.

THAT SAID. I have noticed in my years reading fanfic, there's a few linguistic shibboleths that arise in authors who also have experience in the mines. I think there's not a soul alive who hadn't wandered across a 'ministrations' when reading Narutos oral sexing. There's- Hold on. Here's some pix.

There's an impulse, I think, to in-group even when performing a creative act. A feeling that there are certain ways one Should go about the act, by virtue of seeing it performed that way. Especially so when 'training' at the act is often just Doing. Double Dog Especially when the act is exclusively for oneself with very little oversight. Which is to say, we make what we see and we make what we think we should make. At least, at first.

Now, I've been noticing 'grew a second head' (to insinuate surprise) in fanfic for some time. I've never seen it used Outside of fanfic. That may speak to my own bad habits but it got me curious. So a friend and myself downloaded a mirror of AO3 from July of 2024. He did some code- Stuff to scan the mirror for "second head" and of the ~13 million works, ~70k (English) results were returned. That's a rounding error, honestly, but Far FAR more than I expected.

This book is 401 such examples that I personally selected for a variety of reasons. The number itself was arbitrarily chosen. Each page is separate fic, the roughly 300 words around our key phrase.

I don't think repetition or mirroring is a negative thing. I think it's quite charming. Nor do I think it's a sign of a 'bad' artist or 'bad' art. I think it's a signifier of personhood, of belonging, of enthusiasm. Of culture shared and wishing to share. I think it's real sweet. I always smile when I catch a 'grown a second head' in a work.

And it's really fucking funny when it's John Sherlock getting a sloppy toppy. Bless.

[hyperions-light]

A home in life, a berth in death, a house of many mansions: the Necropolis fucks

Before the game came out the Necropolis was one of the top five places I was hoping they would let us visit in Thedas and I'm so thrilled it did not disappoint! The architecture, the atmosphere is impeccable, the reactivity everywhere (cleansing the Vault of the Beloved, the secret room that appears, the skeleton workers that begin cleaning different areas as the game progresses), the detail in everything. Did you know that in the room where you get the codex entry about the flesh-eating beetles, you can look down and see them running across the floor? Love it!

But the environment itself is only an aspect of what makes the Necropolis so much fun; the insight we finally get into Nevarran culture is possibly the most important thing that comes out of it. The only Nevarran we've really met before was Cassie (love her, she was not very informative, though), so to actually get to meet people who serve as stewards to one of the most sacred cultural rites is incredible and exactly what I wanted from this game. I loved discovering their unique perspective on magic, and how they handle their Templar Order.

It's also a fascinating lore point to discover that Emmrich can speak to the dead; we've never actually encountered a REAL ghost in DA, I don't think. There have been things which appeared to be pieces of once-living people, but it could always be explained by 1) weird magic causing them to live past their normal lifespan 2) a spirit acting as a dead person. Emmrich makes a distinction between speaking with real dead people and imbuing a once-living body/articulated skeleton with a spirit. This is so cool and interesting! And they've been doing this consistently and regularly, to talk to the late King Markus! All the magic applications in this game make the South seem so boring lol (but that's for another post).

And I love that the Necropolis itself is considered alive by the Watchers! It moves and rearranges its own configuration in accordance with some sort of unknown will; is it partially built inside the Fade? Is it imbued with magical energies, like Arlathan was? How old is it? Is the reason it functions this way because it's so old that it predates the separation of the Fade from the material world, or is it just that the Veil is thin there? Are the Lichlords the ones directing the Necropolis? How? So many interesting implications and questions brought up by just the building itself!

I think my favorite thing about the Necropolis and the Watchers, though, is how they present death. Most of the cultures that we've encountered so far in Thedas view death as a universally negative thing, but the Nevarrans celebrate its place in the cycle of existence. In the gardens, which are such a beautiful, peaceful location, there's a puzzle you can do where you have to turn on a series of meditation bells in a specific order to get into a treasure room; when you put together the poetry accompanying each bell in the correctly, they describe (metaphorically) the movement of a person through life and into death. It's such a gorgeous little detail, and I love the way the Necropolis is designed to encourage the player to think about death (it also folds in so neatly to Emmrich's personal plotline!), especially since it is so integral to the game as a whole (yet another different post).

Visiting Blackthorne Manor and picking up mementos in the Necropolis shows that, this death positivity is, in fact, a pervasive cultural attitude. Nevarrans believe that they have a duty to each other that persists after they die; that the body can keep being useful; that the living should honor the dead. It's such an interesting perspective that was missing from the DA series; people die all the time, and, of course, it's intended to make the player sad, but DA has never seriously discussed death, its implications, what it truly means or how it affects those left behind. They've never really made you sit and look at it as the player. There are some sad lines after Leandra dies in DA2, but it's mostly in the narrative to give Hawke a reason to hate blood magic and stuff. There's no funeral. There's a few lines from Gamlen, Hawke, and your companions, and then the game moves on. It's always like that; the game gives you a moment to be sad, and then it moves on. There's no mourning. But this game is partially about mourning! It's about people being gone, and it being too late; it insists you look at death and deal with it, and the Necropolis is the epitome of this.

The game asks the question over and over what you think the characters should do in response to their own losses, and the Necropolis represents are really interesting, nuanced, answer to that question. They're not gone; they're right there. They're still with you. You can go and visit them and celebrate who they were in a place that honors and cares for them, still. It's so beautiful and interesting and full of love, for the living and the dead.

I didn't even talk about Emmrich's plotline or the class differences in the Necropolis, or how everyone there is a weird goth nerd and I love it so much, but I think that's really the important point: the symbiosis. The living; the dead; the spirits; the corporeal, all finding a way to be together.

[ugf-viridis]

I'm actually gonna chime in right quick on this, if that's alright.

As someone who has been impersonated many times on socials, across multiple personas, it does suck. It can have negative consequences, for sure. But you can't be everywhere, and you shouldn't place yourself in crappy online environments just because you're afraid that someone is going to pretend to be you and start trouble. 'Oh no, I better make an appearance on 8chan or someone will pretend to be me....' No.

As others have said, delete the profiles in toxic spaces. Your friends (and your enemies) will ask you what's up if someone's doing a good enough job impersonating you. And if they don't, then it's not really affecting you, so don't worry about it. And if you don't have people you can count on to do that (not everybody has a 'network,' or even wants to have one online) there are ways around the fuckery.

Easiest way is to link all of your profiles of the same type / persona and network those. Put 'em in your bio. That way, if someone sees something awful everyone knows where to find you to complain / dogpile about it. Over on main I crosspost. All accounts are basically clones of one another (partially for the aforementioned reason that people have impersonated me before, and caused trouble). But you don't even need to do that.

If someone wants to frame you up, they will find a way. It's a big internet and there's lots of mean people with lots of spare time on it. Don't worry about it. You're not gonna starve if you go a week without as many likes or replies. You'll live. You do you, and get out of toxic spaces, because, honestly, being in those toxic spaces reflects more poorly on you than the occasional episodic nonsense. And being in crappy communities is just bad for your outlook and your mental health. No worry. Just be a stand-up person and you'll be fine.

should you delete twitter and get bluesky? (or just get a bluesky in general)? here's what i've found:

yes. my answer was no before bc the former CEO of twitter who also sucked, jack dorsey, was on the board, but he left as of may 2024, and things have gotten a lot better. also a lot of japanese and korean artists have joined

don't delete your twitter. lock your account, use a service to delete all your tweets, delete the app off of your phone, and keep your account/handle so you can't be impersonated.

get a bluesky with the same handle, even if you won't use it, also so you won't be impersonated.

get the sky follower bridge extension for chrome or firefox. you can find everyone you follow on twitter AND everyone you blocked so you don't have to start fresh: https://skyfollowerbridge.com/

learn how to use its moderation tools (labelers, block lists, NSFW settings) so you can immediately cut out the grifters, fascists, t*rfs, AI freaks, have the NSFW content you want to see if you so choose, and moderate for triggers. here's a helpful thread with a lot of tools.

the bluesky phone app is pretty good, but there is also tweetdeck for bluesky, called https://deck.blue/ on desktop, if you miss tweetdeck.

bluesky has explicitly stated they do not use your data to train generative AI, which is nice to hear from an up and coming startup. obviously we can’t trust these companies and please use nightshade and glaze, but it’s good to hear.

[miraculouslbcnreactions]

Do you think that Ms. Bustier is overhated?

Not particularly. I don't have any strong feelings about her, but she's clearly a terrible teacher who is in way over her head. I totally understand why she sets some people off. If she was a real person that I actually had to deal with, then she'd probably set me off, too, because she so perfectly encapsulates toxic positivity. If you're not familiar with that term, then here's a quick definition:

Toxic positivity is the act of avoiding, suppressing, or rejecting negative emotions or experiences. This may take the form of denying your own emotions or someone else denying your emotions, insisting on positive thinking instead. Although setting aside difficult emotions is sometimes necessary temporarily, denying negative feelings long term is harmful because it can prevent people from processing their emotions and overcoming their distress.

Read that definition and then look at this scene from Zombiezou:

Marinette: But Miss Bustier, it's so not fair! It was Chloé, pulling another...Chloé! And...I'm the one who's getting in trouble?! Miss Bustier: Of course you're not in trouble, don't worry! As the class representative, I want you to set a good example for your classmates. Don't give into feelings of anger. Try to forgive Chloé instead. Marinette: I don't get it... Chloé is the meanest person I've ever known. Miss Bustier: Come on... There are much worse people in Paris right now than Chloé Bourgeois. I'm sure people like Chloé are capable of great things. The problem is, they only think of themselves. They don't understand the meaning of love, and we can't force them to change. But perhaps we can show them by setting a good example. That's why Marinettes are so important in today's world; because they have a lot of love to give. I'm counting on you. Marinette: Yes, Miss Bustier.

This is toxic positivity in action. Marinette is told to set aside her extremely valid feelings as if anger is a terrible thing, but it isn't. All emotions have their place and ignoring them can do real harm, a lesson that Miraculous really struggles with. It seems to see "negative" emotions as bad and they're really not. What matters is how we express and address our emotions, not that we experience them. If you want to see a family friendly piece of media do this topic right, then go watch Pixar's Inside Out.

There's also the fact that Chloé is never punished for her actions in this episode. She ruined a gift that probably took Marinette hours and yet Miss Bustier puts the onus to fix things on Marinette, blaming the victim and doing nothing to actually fix the situation. Canon mildly complicates this with Chloé's father's willingness to meddle, making punishing her apparently impossible, but Miss Bustier doesn't even acknowledge that here. The stated logic is that you need to be nice to your bully and that will hopefully magically fix things, which is a terrible lesson that I don't want any kid to learn! What kind of logic is that?

I'll admit that I'm a big fan of "an eye for an eye leaves the whole world blind," but that doesn't mean that you should never acknowledge harm or fight back. It just means that you need to be measured in your responses and pick your battles wisely. If this episode was about that, then I'd be fine with it, but that's not the lesson here. There is no point where the wrong done to Marinette is even mildly acknowledged. Miss Bustier's initial reaction to seeing Marinette's ruined gift is:

Miss Bustier: Well, I think this present is wonderful. It'll be my new cosmetics bag! Then I'll be able to think of both of you every time I use it.

And we go straight from that to the toxic positivity.

Something is wrong with this woman. You shouldn't even take this approach with preschoolers! While I could see this being a good final solution to something like Chloé scribbling on Marinette's drawing, Chloé's behavior still needs to be addressed. She is still the one in the wrong here. The one whose behavior needs to change.

This is one of many cases where there are two paths to take with this character. The writers clearly want Miss Bustier to be a wonderful teacher, but they wrote a victim-blaming disaster who shouldn't be in charge of anyone. If you're ever adapting her, then it's up to you if you want to redesign her into her intended self or if you want to lean into the bad writing. I think both paths have merit because the writing is so bad that there is no way to make canon Caline work as a good teacher. She's too fundamentally flawed so you either acknowledge how awful she is or do a major overhaul where she's much less forgiving and actually acknowledges things like the Chloé problem.

[untildawnss]

until dawn characters overhearing their partner saying something negative about them/their relationship

just a few short drabbles about the characters' weaknesses or worse traits and how they might react to hearing a partner talking about it. and wow, this actually took a while.

kind of angsty, but the endings of most of these are kind of open for interpretation

ashley

"i don't know, i just feel like we're stuck sometimes. we're not really doing anything. it's getting kind of boring."

ashley stopped dead in front of the door to your living room. she had wanted to spend a quiet evening at home with you, like you usually did on fridays but evidently you'd had other plans. and you obviously hadn't expected her to get home early. she flexed her hands, once, twice, and opened the door. the room went quiet, you and your friends looked at ashley. "babe, you're home." you smiled, not sure whether or not ashley had heard you. "sit down, i'm gonna get you a glass of wine." you patted the couch next to you. "no thanks. i think i'd rather go and be boring," ashley grabbed her laptop from the coffee table, "in the bedroom. alone."

beth

"seriously, her sister is over all the time. i know, i know they're twins and they're close and everything but i feel like aoutsider in my own relationship sometimes because she never says no to her family and i get the short end of the stick."

beth heard your voice drifting through the open window. you were on the patio, on the phone with your best friend while hanging out the laundry. beth was in your bedroom on the floor above, changing the sheets. are you fucking kidding me? beth sucked her teeth. she knew that you knew that she'd always been the most mature and stable of the washington siblings and that they were super close. "you know," she leaned out of the window. you looked up at her, startled. "you're my family, too. and i never say no to you." - "you heard that?" you groaned. "uh, yeah, me and like the entire neighbourhood. so what's wrong with me and hannah hanging out? it's only once a week." - "nothing, it'd just be nice to be included every once in a while." beth smiled widely at you. "aw, i didn't know you wanted to hang out with us. you should have told me."

chris

"he's always doing something on his phone, sending josh some stupid video or planning another dumbass prank with him. sometimes i think he stopped maturing past the age of 16."

you heard the front door close. apparently you had missed the jingling of chris' keys while you were busy looking for a salad bowl in the kitchen. "cool, didn't know you thought that way about me." chris dropped a plastic bag on your kitchen counter. "i brought dinner, got your favourite. thought i'd come over and we could hang out, maybe watch a movie or something. but it seems like you're busy." you had turned around to face him. "chris, i didn't mean it like that. i'm sorry." he was already on his way to the door. "no, you did." - "fine, maybe i did. but it doesn't mean that i don't love you. where are you going?" he was standing in the doorway, doing fingerguns at you. "josh's place. because i'm immature like that." the door closed and you pulled out your phone. can we talk about this? you walked back to the kitchen, the smell of your favourite food filling the room. thank you for dinner. - let's talk tomorrow, like adults?

emily

"emily wants this, emily wants that. emily gets what she wants, whenever she wants. it's all about her. i think she's her own favourite person in the world and everyone else are background characters for her enjoyment."

emily's phone pinged when she received the voice message. it was intended for your best friend but you had misclicked when opening the chat without realising it. she smiled when she saw your name on the screen and eagerly tapped on the little arrow to play the message. oh. the message wasn't for her. but you had thought of her alright. was she really that bad? her phone pinged again. don't listen to that. too late, she thought. i'm sorry, i didn't mean that. but you did, she knew. because she knew she was a bitch sometimes. because she knew that she had been selfish. no, you're right. she texted back. can i have a second chance?

hannah

"can you believe it? we had a fight and now she's packing her stuff to go sleep at her sister's place. she's blowing it out of proportion. talk about overreacting. everything is drama with her."

hannah had texted her siblings to come pick her up while she was throwing clothes and toiletries into a bag. whatever you were fighting about had escalated, both of you were to blame for that. but now you couldn't even wait until she was out of the house to talk shit about her? absolutely not. she knew she was sensitive but calling her dramatic was unfair. if she stayed, neither of you would sleep tonight. both of you needed to calm down. so naturally, hannah had called her twin sister and asked if she could stay with her for a few days. and naturally, beth had gotten in her car. the place was just too small for both of you to try to avoid each other after an argument. hannah was trying to give you space but sure, she was the one overreacting, not you in the living room, knowing full well that she could hear you. "you know what? if everything's drama with me, maybe i'll do you a favour and move out." hannah zipped up her bag and made her way to the front door. she heard a clatter as you dropped your phone. "what?" hannah was putting on her shoes now. "i said," she removed the butterfly keychain from her set of keys before putting them back. "i'm moving out. we're done." she walked out of the apartment and got into beth's car.

jess

"ugh, sometimes a part of me wants to shake her and ask her to just act like a normal human being. she's not perfect, so why does she pretend to be?"

last you checked jess was in the shower for her "self care day" ritual. that usually took a while, so you put in your earphones and called a friend while you were in the kitchen preparing dinner. you had jokingly complained that her long showers would drive up the water bill because she just had to keep up that image, that she was driving herself crazy competing with no one but her own ego. you hung up when you put the dish in the oven to clean up, maybe see if jess was done in the shower and have a pre-dinner glass of wine. you walked out of the kitchen and stepped right into a small puddle in the hall. ew, wet sock. "jess, can you leave the water in the shower next time?" you walked towards the bathroom and opened the door. jess was standing there in her underwear, a towel wrapped around her head and staring at her reflection. "hey. dinner's almost ready. you want a glass of wine?" she turned around to look at you. "do you think i'm vain?" her question took you by surprise. "what?" - "do you think i'm vain? i heard you talking about me and i want to know if you think i'm vain." she looked like she was about to cry. "jess, babe, no that wasn't what i meant. it's just- you try so hard all the time but you don't even need to. i love you just the way you are. you can be a little high maintenance, though." she sighed. "i know i'm not perfect-" - "you don't need to be." - "but can i still have that glass of wine?"

josh

"i feel like his caretaker sometimes. take your meds, take care of yourself, go to bed at a reasonable hour, don't drink too much, blah blah blah. i'm so over it. at one point he has to start living for himself and not just because everyone else bends over backwards for him."

you hung up the phone and turned up the TV's volume. when you went into the kitchen to get a drink, josh was there. "hey, when did you get home?" - "while ago," he shrugged. "why didn't you say anything?" you opened the fridge, looking for something you're in the mood for. water, or maybe some wine. "heard the TV, wasn't really in the mood for that." josh tapped his heel against the cupboard behind him. "okay. you want anything?" you pointed at the contents of the fridge. "wouldn't want to be a burden." he turned his head to look at you. "wouldn't want you bending over backwards to take care of me." he clenched his teeth. "yeah, i heard that, too." you let go of the fridge door and it closed slowly. "josh, i-" you started, trying to find something to say. "it's okay. i know i'm not always the easiest person to be around. but i'm trying, i'm getting better." you reached out to touch his hand but he pulled back. "i called chris. he's coming to pick me up." - "oh, okay. when are you coming back?" - "i don't think i should."

matt

"it's like matt doesn't even have any opinions of his own. he always just agrees with me. i don't think he has made a single decision in his life, ever."

it had been a week since matt had read your message. he had been using your laptop because he had forgotten his at home and your devices were connected. he hadn't planned on reading it but saw that it was about him. he hadn't even told his sisters or ashley about it and they were usually his go to people. maybe he was bad at making decisions. he hadn't decided how to handle this situation, anyway. yeah, you'd noticed that he had pulled away and asked him if something was wrong but he had made up an excuse about an assignment he had to turn in. he was still thinking about whether to ignore that he had seen the message or try to talk to you about it when you, once again, made a decision for him. his doorbell rang and when he opened the door, there you were, smiling at him. "hey, thought i'd come over. you're done with that assignment, right? can i come in?" maybe he'd finally make a decision. "actually, no. i don't think we should see each other anymore." your face dropped. "what? why? what happened?" - "guess i'm just making a decision for the first time in my life, ever. we're over."

mike

"he's such a fucking macho sometimes. i can literally not do anything without him swooping in and taking over because he thinks he's god's gift to humanity or something. right now he's putting up a shelf because he didn't think i could handle it. it's my place."

you were in your bedroom, sending a voice message to one of your friends. mike had finished putting up the shelf and was about to knock on your bedroom door to ask you if you wanted to grab something to eat when he realised you were talking about him. wow. guess you really needed to get that off your chest. he'd always thought he was just being helpful by offering to do stuff for you. was he really that overbearing? was he a macho? mike had always thought you were grateful when you accepted his help but maybe he'd misinterpreted the way you smiled at him earlier. it did look forced but he thought it was just the stress of moving. before he could move the door opened and you were face to face with him. "mike! were you eavesdropping?" - "not on purpose! but you were kind of yelling." he shrugged. "didn't realise you thought that i was such an ass. didn't realise i was being an ass." - "you're not an ass, just-" you started. "god's gift to humanity?" he said, pretending to fix an invisible halo. "i'm sorry, i promise i will stop swooping in and taking over and wait until you ask me for help. if you still want me."

sam

"we barely spend any time together. she's always doing something, hanging out with her friends, going climbing, running or swimming. are we even in a relationship anymore or just roommates? i don't even know where she is right now."

sam was right above you, watering the plants at the top of the stairs when you walked in. you were probably talking to a family member or a friend. about her. she wasn't sure if she should say something or not. she had continued watering the same plant while listening to your conversation and the water was overflowing now. it reached her feet and soaked through her sock. "crap." downstairs she heard you mutter a quick goodbye before you called through the house. "sam? are you home?" - "yeah, i'm here." she called back from the bathroom, looking for one of the ratty towels you used for spills. you had kicked off your shoes and were walking up the stairs. "don't move, i accidentally drowned gilbert." all the plants had names. sam emerged from the bathroom and threw the towel on the ground, swiping it around with her foot to wipe up the spill. "i didn't know you were home. did you, uh, hear me just now?" sam was staring at you. "yeah," she admitted. "i don't want us to be over. but i don't want to give up who i am, either." you nodded. "i know. compromise?" sam nodded back at you. "we can try."

[everliving-everblaze]

Fitz's characterization is so interesting and so hard. He's both very kind AND a bit of an entitled jerk, and most people only manage to capture one of the two.

I think this is well-illustrated in the first few chapters of the series. Fitz and Sophie spend a lot of these chapters rolling their eyes and sniping at each other, because they both have an attitude about the whole thing. In particular, Fitz has his attitude about elvin superiority, and Sophie immediately responds to that negatively.

He'd never heard of Albert Einstein? The theory of relativity was dumb? She wasn't sure how to argue. He seemed so ridiculously confident—it was unnerving.

On the other hand, it's very clear that Fitz's heart is in the right place (or at least, a well-meaning place). He has his attitude of elvin superiority, but he's thrilled to welcome Sophie into it as well.

Fitz nudged her arm. "Hey. It's not your fault. You believed what they taught you—I'm sure I'd have done the same thing. But it's time you knew the truth. This is how the world really works. It's not magic. It's just how it is."

(And undoubtedly, he's right. He would have believed what he'd been taught—he did, just different beliefs!)

The thing is, Sophie doesn't particularly want to jump aboard the elvin superiority train that he's so excited about.

"Well, it's like you're saying, 'Hey, Sophie, take everything you've ever learned about anything and throw it away.'" "Actually, that is what I'm saying." He flashed a smug grin. "Humans do the best they can—but their minds can't begin to comprehend the complexities of reality." "And what, elves' minds are better?" "Of course.

Fitz reads as a total jerk with what he's saying! He's completely ignorant of the fact that his belief that humans are stupid and evil is like, gonna hurt Sophie's feelings. Because that's what he's been taught!

I've said it before, and I'll say it again: Fitz's character is hugely about prejudice, about people who believe what they are taught, even though it's wrong. And his character is about those people who then have to relearn their beliefs!

Fitz makes so much progress throughout the series in combating his own prejudice, largely through befriending Sophie. His character arc is one of my absolute favorites from any media, ever. I've gone through a lot of the same things he has, having to learn about prejudice and deal with my own biases, the lies that I was taught. His character is very meaningful to me!

But I think that's a piece that so often gets missed when people try to capture Fitz's character. Some people only see the bad parts and choose to portray him as totally evil. Some people focus on the good parts and portray him as more of a victim.

But I don't think either interpretation is totally right. Fitz is nuanced. He means well and truly tries to be kind within his worldview, and once he truly starts to realize his worldview is bad, he works on it! That's way more than a lot of people do. But he he makes a lot of mistakes along the way.

That's a fascinating, relevant character. And that's why he'll always be one of my favorites.

[mad-moll]

This is actually why I started testosterone! PMDD + progesterone hypersensitivity means I'm basically allergic to my own hormones. My Dr tried other medications first, but they didn't work (and some made my symptoms worse). The next thing we discussed was a hysterectomy and oophorectomy, but she was very concerned about that because it causes menopause, which comes with its own health problems, and I wouldn't be able to take any of the hormones typically prescribed to help with those issues. So I asked if T could possibly help, because I figured different hormones might be better than no hormones. She agreed it was worth trying if I was ok with the side effects, and wrote me a prescription that day!

I haven't had the surgery yet, but so far T has reduced the severity of my symptoms, and I haven't had any negative reactions to it. It hasn't fixed everything on its own, but it has definitely improved my quality of life, and now surgery should be safer for me.

Conveniently, I'm genderqueer, so I'm enjoying the physical changes/gender side effects even though I had never planned to medically transition in any way. I don't know how many cis women in a similar situation would want to take T, but I do know how horrible pmdd/ph is, so I wouldn't be surprised if some would seriously consider it at least.

I'm open to questions if people have any. Idk if anyone has tried treating pmdd like this before, but I haven't found any publications on it, so I'll answer asks/dms about my experience.

Pre-menstrual depression is always depicted as like "He He! I had a box of icecream bars and cried while watching the Titanic!" But in reality, it's more like, "I'm standing the edge of an abyss. There is nothing good inside of me, I'm filled with rage and desperation."

It's crazy that being told how to deal with that is never a part of anyone's menstrual sex education.

[bootlegramdomneess]

It's all about the intimacy

In order for Carmy and Sydney to happen, Carmy has to be okay with Intimacy and Sydney has to be okay with relying on Carmy in that way. I don't think Sydney has an issue with intimacy because we've been shown how she loves. how she cares. How she likes seeing people happy. She has shared intimate parts of herself with Carmy, marcus and i'm asuming Natalie. I think her issues may be in relying on another person if they can't show her she can rely on them.

Sydney and Carmy grew up differently.she knows love and care and afffection and unconditional love, and nurturance and protection. I think she is able to be intimate. I think she can be intimate with Carmen if he can give her the space to be. If he can show her she can trust him not with just being his partner, but in other aspects. (wink wink).

There have been pocokets of big time intimacy between these two, so the evidence is there they can both be this way with each other. For Carmy, he has to be okay with getting close. He' s just not. He can't be with the C person and whenever it seems he' s getting closer to Sydney, he sabotages in an unhealthy way. Because of the low-self esteem and the trauma, he can't see the benefits of intimacy. He also can't see how intimate he's been with Sydney.

You can see it in his eyes how close he wants to be. It's in his body with how calm he gets when he thinks of Sydney, but it continues to be out of his reach because he can't recognize what that feeling means. Carmy isn't completely lost though. i believe he has admitted to himself who he wants. What he wants, but the negative thoughts tells him it ain't gonna happen. You aren't worth that. etc. etc. etc. It sucks. But lets hope he'll find a path in season 4.

[drawingoddessy]

I wanna talk about the subject of escapism in Inanimate Insanity.

To discuss this I need to do a deep dive into 3 characters that push this subject the most and how they do it differently.

Lightbulb, Fan and Mephone 4.

The three that demonstrate escapism in 3 different ways.

Lightbulb

Throughout season 2 we see Lightbulb as this goofy character, that’s her whole character up until you begin to notice little habits or cracks in the persona she lets others see. Up until episode 12 we don’t exactly know what is going on with her. We see her get sad in spurts of moments, but it’s never dwelled on. Until she faces the loss of working with Paintbrush, this causes her happy facade to begin to unravel and we see a whole new side of her. Now while she does the literal definition of escapism, which involved her leaving to a different realm that’s more like her to hide from the scary reality of Paintbrush not liking or wanting to be friends with her. I want to talk about the reason as to why she does so.

Escapism isn’t solely defined as only wanting to leave your reality in favor of a fantasy. It can also include intensifying more positive emotions to cope with or hide the negative.

Lightbulb demonstrates the latter, We see Lightbulb throughout season 2 use humor and a heightened amount of positivity to hide from her peers. Even beyond episode 12. In episode 13-14 you can very easily tell she has gotten a lot more comfortable with Testtube. But beyond her, you can see Lightbulb continue to hide from the other remaining contestants. When upon getting scared or frustrated she instantly masks it with a silly response or an over the top reaction.

Even in the first half of the II movie she is seen continuing to be silly upon facing literal DELETION to cope with how terrifying it is.

Fan

Fan demonstrates the more literal form of escapism. Which would be, as mentioned before, escaping reality in favor of a fantasy. His entire character arc is centered beyond his incapability and fear of looking beyond the show, his main source of comfort. While Lightbulb hides behind a forced, intensified feeling, Fan hides behind an interest. His intense love and passion for the show cuts him off from the real world. And he’s okay with that, not only is he okay with that, he craves it. The world beyond the show scares him so much that he rather be contain within himself and his interest. This is shown most in episode 14, where he gets taken out of the show. Fan has characterized the feeling in later Livestreams as “the end of the world”. Because, for him, it was. Leaving the show begin to crack Fans shell of bliss and oblivion. It wasn’t about winning to him, it was about staying with the only thing that had a pattern, that gave him comfort.

He is shown time and time again to want to say in a “shell” of Inanimate insanity. That when he got thrown out of that shell it made him spiral. That and met harshness on how it happened, and loosing Test tube and the egg left him destroyed. Everything that gave him comfort was violently stripped from him. His feeling becomes clear when he says “Test Tube, to be honest with you, I don't want him to have to hatch, okay? I mean, wouldn't that be great? He could just... stay calm and secure in his little protective shell, and have... and have his... have his patterns. Right?”

He doesn’t want to leave Inanimate Insanity because it’s his protection.

Mephone 4

Now last but not least

Mephone 4

The epitome of escapism.

Now it’s quite obvious that Mephone definitely “programmed” the latter 2 characters to have these issues because he himself has them too. BUT since I wanna demonstrate the 3 different ways II shows escapism I’m going to talk about the reason he created the characters.

Mephones form if escapism is through creation

He created a whole life and show to escape from Cobs. He created a good majority of the characters to project his feelings and struggles onto. Lightbulb with the struggle with hiding her emotions behind smiles, because he also does that (shown in the later half of season 2 and all of season 3). He created Fan with the obsessive attachment to Inanimate insanity, and the desire to stay in that fantasy rather than reality. Because he himself MADE the show to hide inside of it.

Even season 3 characters: cabby and her memory issues, clover and her seeing her ability as a curse, silver and seeing himself as worthless and balloon and his desire to change.

The character is an extension of himself and THROUGH THEM you see everything about Mephone’s struggles.

Speaking of season 3

The entirety of that season is literally him running away and creating another reality for himself. He consistently is shown to run away and hide from his problems, especially behind his creations.

It’s only when that fantasy is stripped away from him is when he can truly grow and face reality. Face cobs

[crimsonender]

as much as i hate lily orchard, do you have a different blog where you don't talk about her so much? i love your blog but i'd really rather keep her rancid ass and the whole gender war bullshit off of my dash. also just out of curiosity, why do you have anon enabled, with the amount of hate you get?

huh? I don't really get anon hate. I get like, two or three a month max. I actually get more spam than I do anon hate.

Most people won't tell you this but. I'm quite certain the vast majority of anon hate is usually a self ask. Most people that want to be vitriolic will be public about it. If someone sends me a mean ask, I'm in control. I choose when I read it. I choose if I read it. I choose if it ever gets published. I can choose to ignore it. that doesn't really achieve what people that write hateful content want to achieve. It holds no power over me and it doesn't ridicule or defame me the way people like that are typically after.

as for the Lily stuff I have decreased how much I talk about her significantly. Only a handful of times this month since making my Negativity video.

And lastly, I will continue talking about "gender wars" because I am transgender, and it is important to me, and will always be important to me for my whole life because it shapes the way I interact with the rest of the world. If you don't want to follow someone who talks about gender a lot, I am not the guy you should be following.

[potato-non-grata]

I'm someone who kind of only considers negative rights (freedom from certain things) to be "basic" rather than positive rights (obligation on the part of the government to provide specific things like education or housing). Part of the reason for this belief is because I don't think people who call positive rights "basic human rights" really tend to fully believe that! Like OP said, if it's a basic human right, EVERYONE has a right to it, no matter what. The only way certain people don't deserve basic human rights is if we don't consider those people human.

(Not relevant to the point, but the other reason I don't consider positive rights to be "basic" is bc I consider "basic human rights" to be the same as the term of art "fundamental human rights" in international law, that should apply to things that are so vital to international peace and security that it's everyone's business if a government isn't doing something. I worry in my own field of either diluting it's meaning or, perhaps worse, justifying foreign intervention using positive rights.

I only put this explained bc I think my view point is (or should be!) fairly conservative, but I do love and respect all the people who advocate for positive rights to be considered "basic.")

i think a lot of liberals need to confront the fact that they don’t actually believe everyone should have basic human rights. a homeless person could call me every slur under the sun and i would still want them to have housing, food, etc. the belief that everyone is entitled to basic human rights should not hinge on whether you “like” someone or not. at that point the entire ideology crumbles.