#I feel like they're going to overlap with the movie

[swan2swan]

The Nublar 5 when they get to BioSyn's headquarters and find that the dinosaurs are controlled with chips in their heads:

[team-frightfur]

(Theyre also blushing but i cant figure out why). Both Kenzan and Johan are more focused on Judai tho, which could either be bc theyre both gay for him or cause this takes place post s4 (so theyre happy to see Jou enjoying life again after his depression). Then you have Fubuki and Asuka in the corner. Fubuki is doing his standout uncoordinated cloudcuckoolander bit by not wearing blue/black/white/yellow like everyone else (get with the program, man!) Instead he's going for that... christmas ensemble? With the rare red....tho now I see it, there's also judais pants and the coke bottles and the red cups and oh my god it was a red/blue/green/yellow colour scheme all along. ANYWAY, while Asuka is more serious with her modest clothing and walking boots, she has this small smile. Like, clearly she's not super duper ecstatic over his dumbass ukelele serenades, but she'll humour him today of all days, not just because it's a special day but because she looooves having her brother back.

Final verdict: this pic honestly just gets better the more you look at it. It makes me wish i had synesthesia just so I could taste the cozy hot chocolate vibes. Like its truly utterly immaculate. Kudos to you for all time!!!

[dailymanners]

I feel as though in the past few years it's becoming more common for me to be interrupted while I'm speaking, and I can't help but wonder if more people are losing a sense of conversational rhythm due to communicating more and more digitally and less and less in person.

When you communicate digitally you don't have to worry about finding the natural rhythm of the conversation, you're not taking away someone else's ability to finish their thought or make their point if you send a message to them while they're still typing. I'm not here to scare monger about the kids and their phones, but it's important that you don't let your skill of finding a conversational rhythm, if you have that skill, atrophy, lest you speak over someone and take away their ability to complete their thought and make their point.

But I also realize that it's really important to specify what I mean by interrupting someone.

When someone says that interrupting is really normal and not considered rude in their community or culture, what they're actually talking about is what's known in linguistics as "cooperative overlap", that or simultaneous talking. Here's an example of cooperative overlap and/or simultaneous talking that you might see in a culture where this is normal and acceptable:

Person A: So guess where I went today? I went to the -

Person B: Oh let me take a wild guess! You went to the shoe store again didn't you?

Person A: That's right, and I got a -

Person C: Oh come on, don't tell you got another pair!

Person A: You know it baby!

Now let's compare that to a different style of interruption, what I like to call "steamrolling"

Person A: So guess where I went today? I went to the -

Person B: UGH did you guys catch the game last night?

Person C: Yeah the refs sucked!

Now, what differences can you see between the first example, aka "cooperative overlapping" vs the second "steamrolling" example?

For one, in the first example Person A is still allowed to make their point, tell their story, and finish their thought. They're not being silenced or completely derailed, and most importantly their conversation partners still seem interested and engaged in what they have to say. In the second example, Person A is being completely derailed and stripped of their chance to finish their thought and make their point, which is unfair to Person A, which is what makes "steamrolling" disrespectful even in many cultures and communities where "cooperative overlapping" would be acceptable.

Now, conversational overlap isn't for everyone, and that's okay, but it makes it awkward and tricky when someone from a community or culture that uses conversational overlap talks to someone who is from a culture that doesn't. For example:

Person A: So the other day I went to -

Person B: Oh my god did you go to that one store?

Person A: Um, no, I went to the movies, and I saw -

Person B: OH did you see that new creepy movie about the aliens?

Person A: No, can I please just finish my story?

Person B: Oh, uh, sorry

Neither person will probably feel great after this conversation. And I'm not here to condemn either conversational styles. I understand why some people see cooperative overlap as a more engaging and exciting conversational style, but I also understand why some people find it frustrating. My mother's family has a cultural background big on conversational overlap, but my father's side of the family ehhh not so much, so I personally grew up seeing these two conversational styles clash a lot.

If you're person A in the above conversation who doesn't like conversational overlap, that's totally fine, I'm personally not a big fan of it either only because I have a terrible memory, so when someone disrupts my flow I usually end up completely forgetting what I want to say. Just try to recognize the difference between cooperative overlap vs steamrolling. If someone is just trying to cooperatively overlap with you, patiently and politely tell them something along the lines of "sorry I have a terrible memory so if I don't finish I'll forget what I'm trying to say". But it's generally a good idea to be more patient and understanding with conversational overlap than steamrolling.

If you're someone who cooperatively overlaps and you encounter someone who isn't a fan of it, try not to take it personally, maybe like me they have a horrible memory and will forget what they're trying to say if they get side tracked.

But what I meant earlier about conversational rhythm is that too often a lot of interrupting comes from not realizing the other person wasn't finished speaking.

For example, personal A wants to say "so the other day I went hiking, and I saw a fox" some people might not recognize when person A is actually finished speaking, typically they assume as soon as they've heard a complete clause that means the thought is finished, so the conversation goes like

Person A: So the other day I went hiking -

Person B: OH I went hiking a few weeks ago with my girlfriend but it was so slippery out!

Person C: Oh how is your girlfriend doing by the way?

Person B: She's doing great! How's your partner doing?

Do you see how this style of interruption, unlike cooperative overlap, also derails Person A and deprives Person A of a chance to finish what they want to say? It's not quite steamrolling, and often just comes from a lack of rhythm or understanding. As a general rule, if you want to avoid interrupting someone, pause for a few seconds after you think they're finished in case they aren't actually finished. This way you avoid accidentally depriving someone of the chance to finish what they want to say and completing their thought.

We should never be too eager to assume someone has finished making their point because you never know what someone might actually be trying to say, and if you cut someone off before they make their point you can miss important context. For example:

Person A: I don't think I see stray cats here -

Person B: AHA BULL FUCKING SHIT! I totally saw a stray cat the other day!

Person A: I was going to say as much as in other places if you had let me finish?

Or:

Person A: I hate when it's hot out. When I was a kid it was usually around 25 or 30 degrees Celsius in the summers -

Person B: OH come one don't be such a wimpy little baby! 25-30 degrees isn't even that warm! I've totally seen WAY hotter summers than that!

Person A: Uh, that's what I was going to say if you'd let me finish, the summers were pretty mild when I was a kid, but they're a lot hotter now . .

Do you see how in both conversations Person B was too eager to assume Person A had finished making their point and ended up missing important context? If person B had only paused and waited for Person A to finish making their point, they wouldn't have ended up making an ass of themselves to put it frankly. This style of interruption can make you come across as eager to dominate and "one up" other people, which frankly a lot of people find obnoxious and exhausting. This is different than cooperative overlapping because it comes from a place of wanting to correct or one-up your conversation partner, rather than play and/or build into what they're saying, which is why I'd argue it's closer to steamrolling.

Good conversational rhythm ideally means everyone is allowed to finish their thought and make their point, whether or not that includes overlapping or even simultaneous talking. If you're not sure someone has finished their thought, pause a few seconds to make sure they've had the chance to complete their thought, less you miss important context. OR, if you do interject, it should be about building/playing into what they're saying rather than derailing/steamrolling them.

What's important to keep in mind is that it's often a matter of power and respect when someone is or isn't allowed to finish their thought and make their point. If someone is unable to finish their thought or make their point before getting steamrolled, they're going to feel like their input to the conversation isn't valued or important, and that's never a good feeling.

[necrotic-nephilim]

@profandomhopper i was going to reblog the original post this comment was left on but i felt it divorced itself from the original topic so much, you get your own post for giving me delightful permission to ramble about this. buckle in people this is long.

so, DC is a big fandom that expanses a lot of different types of content, and like anything, is subject to crossovers. the obvious ones like Marvel are for the reason of being a similar and equally popular superhero world, so it's easy to transpose the worlds onto each other and overlap the characters. both of these worlds deal with multiverses and endless, endless heroes. it makes sense and there's no real stretch to think Batman and Spider-Man could co-exist. i mean, there have been canon crossover comics. and even some more random crossovers like White Collar have pretty easy to trace origins, being an actor in WC was a popular Dick fancast back in the day so there was some bleeding over that led to a well-loved niche crossover space.

but Danny Phantom and Miraculous Ladybug are where it gets interesting. because at a surface, MLB sort of makes sense. it's a superhero world, you're following a teen girl superhero and sure the mechanics are pretty contained, but the crossover should make sense. but when you compare it to the crossover numbers of other superhero media like say My Hero Academia, Ladybug takes the *crown* with such a bizarre popularity. and of course, DP feels like it makes even less sense. sure, you *could* lump it into at the very least, superhero-adjacent media, but it's not a true hero world like MLB or DC is.

but, the thing to always understand about DC, *especially* the Batfamily (which is where the crossover content propagates the most) is this: a *very* good chunk of fans don't interact with the comics. i would venture to say even most Batfamily fans don't read the comics and actively talk about it. we've all read a very fandom big Batfam fanfic where the author's note mentions the writer has never touched a comic in their life. typically, these fans are either cobbling together their understanding from fandom content, or by frankensteining unrelated DC adaptations to understand each character. you take Bruce from Batman: TAS, you take Dick from the animated Young Justice, you take Jason from Batman: Under The Red Hood animated movie, you take Damian from the DCAMU Batman vs Robin, and you read some fandom metas to fill in the rest and well, you've got some sort of an understanding of these characters. read enough incorrect quotes, some genfic, a couple of character metas, and boom, you understand the Batfamily fandom enough to start creating your own content. and of course now. now you have Wayne Family Adventures so it's even *easier*. a pretty easy to pick up webtoon that's filling in all the gaps for you. but i've been in this fandom long enough to remember before we had WFA and even then, this was still a common, if not the most popular way, to ween yourself into the DC fandom space. you cherry-picked the canon you liked and then plunged into the depths of fanon.

i'm not here to make in depth commentary on if i think this is a good or bad thing. trust me i have that commentary in my head, but that would need it's own post. i'm very split on it and my feelings are complicated. my feelings on WFA are even *more* complicated. because oftentimes, the attitude expressed by these fans who are frankensteining this version of the Batfamily/DC world they have in their head is they don't *want* to read the comics. the comics don't contain the content they're after. and to an extent, i understand that. if you're looking for light-hearted vibes of the Batfamily all getting along and having the occasional hurt/comfort moments but in the end, they hug and make up, you're right. largely, you won't find that in canon. of course there are so many comics to recommend for Batfamily interactions, but you have to get specific. you'll find them interacting in small groups, Tim and Dick bonding here, Duke and Cass bonding there, but largely, the comics don't care to balance the ridiculously large cast they've given themselves. but fandom does. it's easy to toss them all in a blender and ignore the parts you don't like. the default argument to ignoring the comics or writing something OOC is always "well the comics are OOC and inconsistent too" which, while a flawed argument that massively misunderstand how comics work as a medium, isn't an entirely incorrect one. you could serve on a silver platter to these fans, an easy and accessible way to get into comics and they wouldn't be interested. it's not what they're here for. fandom is always character-driven above all else. it's driven by character relationships and dynamics. if someone wants to consume content where Tim idolized and stalked Jason as 'his Robin' and now is trying to help him rehabilitate and they're super complicated but have this long epic forgiveness arc, why *would* they read the comics? because they're sure as shit not going to find that dynamic in the comics. it's laughably OOC and not canon at all, but that doesn't matter. what matters is the sandbox. most Batfamily fans care *far* more about the sandbox canon gives them than the actual canon itself. feel how you feel about that, this really isn't being negative toward that attitude, but it is a common attitude.

so, you have Batfamily fans playing in the sandbox and building their own narrative. common fandom headcanons are so common, you could practically write a guide on how the fanon Batfamily works with how consistent people are about it. or you could just read WFA, which is practically the new manifesto of it. even now, with this sudden spike in people talking about canon accuracy and "actually this happening in the comics", they don't actually care about the comics, just what they can cherry-pick for fodder. (even if they rob it of so much context they're just as OOC as they were before. see specifically: the recent phenomena with Tim Drake going from the woobified weakest member of the Batfam who everyone needs to save constantly and he's the smart boy but he's also the one with a sad tragic neglectful past who gets overlooked being the way Batfamily fandom played with Tim for years. but recently, people seem to be pushing this idea of a ridiculously badass Tim, Tim who *totally* has a kill count because of his actions in RR (2009) if you take them completely out of context, Tim who bested Ra's and is even more badass than Jason and he's the 17 yr old CEO of Wayne Industries being cool and flawless it becoming the new fandom zeitgeist. neither of these versions of Tim are canon, and the second fundamentally misunderstands his arc in RR (2009) but the shift has undeniably happened and it's been fascinating to watch. the same thing happened with people suddenly deciding Jason isn't the "angry violent Robin", he was a sunshine sweet boy who was perfect as Robin. neither of these are true, but the second feels more transgressive and new to fandom from cherry-picked panels.) the point is largely, Batfamily fans would rather build their own canon than play with the actual canon.

and then, you have Danny Phantom. i'm not into DP and have no interest to get into it, but what i know about it via fandom osmosis is this: DP fans sort of also don't give a fuck about canon. once again, the canon of DP is a sandbox, not a rulebook. the concepts and the characters are the draw, not the plot itself. i've seen DP posts explaining characters who are essentially OCs, but have become so dominant in the fandom via fandom osmosis. there are concepts and ideas about how Danny's powers work and potential concepts with his ghost nature that either aren't in canon or only happened once in canon and fans decided to expand on that and doesn't care about it's own in-universe logic. i've seen a lot of DP fans also express they haven't seen the show and they don't have plans to see the show. because the show is just some children's cartoon with some inconsistencies and a simple plot, as you'd expect from CN. the show isn't the point. no one cares about it's plot, they care about it's characters. they care about pushing the concept of half ghost boy to a logical extreme and seeing what you can get out of that. can you make it weird and fucked up. how much can you highlight on his trauma and body horror. what identity crisis can you give him and how can you build his interactions with other characters in his world around that and also make those characters fun and unique on their own. sure, the skeleton of canon is there, but the meat lies all in the fanon.

Miraculous Ladybug also exists in this similar vein. the characters, the concepts, those hold intrigue. and not even mentioning the fact the original concept for this show was supposed to be aimed to an older audience, so you can see the bones of something a bit more mature and nuanced under this typical, villain of the week magical girl transformation show. the show itself is a bit shallow and that's not a *bad* thing, it's just the medium it exists within being aimed towards children. but the concepts of a teen girl who's basically a sort of chosen one, a boy who doesn't know his father is the big bad of the show, and their weird identity porn love... square thing. those dynamics are *so* complicated and such a fun sandbox to play in with character-driven fandom.

so, at the core, you have three fandoms that care more about the culturally accepted fanon than the canon, with a good chunk of people often not even consuming the original canon content. and well, DC is an *easy* world to transpose just about anything onto. a boy who's half ghost and fighting supernatural threats? that makes sense, DC has ghost heroes like Deadman already. a girl who has this magical item that gives her animal themed superpowers? i mean that's practically the same thing as Vixen's Totem so that one makes sense too. they fit in pretty easy, no needing to change the world to accommodate them. and of course, if you're a fan of *one* fandom where you don't care for the canon content and only like the fandom sandbox, chances are, you'll get drawn in pretty easily to another fandom with similar mechanics. if you can teach yourself the DP fandom rules/concepts, you can teach yourself the Batfamily fandom rules/concepts. and well, since there's so much crossover in fandom members, why not write the fanfiction? crossover fics will always exist, but with such a shared member base, you have a really big boom.

it's why the characters you see DP interact with in DC are *always* characters who are far more driven by fanon than canon. Danny and John Constantine is a *massive* concept. for people who don't read Hellblazer comics. my poor partner, @divine-dominion has lamented to me pretty often about finding DP content in the Hellblazer tag that is essentially turning Constantine into an OC. because whatever version of Constantine is being written about isn't one bit comics accurate, and really, isn't trying to be. and the same thing happens with Shazam. you watch Young Justice and understand him well enough, you get drawn in by the character concept that you just run with it. people put their favorite blorbos in the same place because hey, wouldn't ghost boy be pretty cool in a city like *Gotham*. how would Batman even react to him. and then, the shipping. because ages for the Batfamily can be easily hand-waved and moved around based on where you plop Danny into the timeline, you have your pick of the litter with him, and same with Ladybug. of course there are the most popular ships but largely, the world is your oyster.

i don't think this is the worst thing in the world for either fandom. it's not hard to filter out the crossover tags and scroll past content i don't like. and sure, i see the appeal of making your blorbos from two different places meet. i've got my drafts *full* of DC/MHA crossover ideas because well, i like them both and think that would be cool. i think my only gripe with it is when DP or MLB crossover content seeps it's way into the wrong tags. using the above example, if you're writing about Danny and Constantine but there's zero content of the actual Hellblazer comics, i don't think you need the Hellblazer tag, just the Constantine character tag. tbh i wish this extended onto Ao3 and people utilized fandom tags better. if you're writing Batfamily fanfiction that is very clearly and obviously WFA driven in characterization and concepts, i would far prefer those fics be tagged with the WFA fandom tag rather than the Batman (comics) fandom tag. because well, you're not writing about the Batman comics. and there's nothing wrong with that, but it helps if you don't confuse yourself for content striving to interact with canon more. (this especially extends to Young Justice, by the way. if you're writing for the Young Justice tv show please, please stop using the Young Justice (comics) fandom tag. i'm at my wit's end- /lh)

the whole thing is fascinating. i've got zero interest in entering DP or MLB as fandoms because that's not my speed, but witnessing it as an outsider is my favorite pastime. i see a *lot* of posts going around the DC x DP space that are helping explain to people who's who, what's what, and understanding the canon/fanon of both of these properties so others can better enter the space. which is not something you'd need in a fandom driven only by it's canon content, but it is sweet watching others try to help newbies enter the space. it's a very inviting fandom space, i think, whether you lament it's existence or not. they're just sitting in their corner with their blorbos, and i gotta respect that. the posts explaining the Batfamily to DP fans are always fun for me to read, even if i disagree with some of the characterizations in them because it helps shine a light on what the fans of this crossover regard as "important" enough about each fandom to be worth including those sorts of primers. very fascinating stuff.

[infinite8revisions]

The Pimp and the Slaver: A Character Comparison and Analysis.

TL:DR - "I think it was a smart and rather aware decision to make AMC's Louis a pimp."

I remember when I first heard that AMC cast a black actor for their "Interview With The Vampire" adaptation. I thought to myself, "how will they reconcile that Louis was the owner of a plantation that profited from slave labor now that the character is black?" While some may argue it wasn't a major plot point or characteristic, you can not argue that it's where Louis spent the majority of his mortal life and the infancy of his vampiric one.

Pictured Above: Okay Alley Plantation where some of the 1994 Interview With The Vampire movie was filmed.

Due to the stereotypes surrounding it, some people may have issues with the word pimp. I would like to give a reminder that, In an occupational context, the word pimp has been used for hundreds of years to refer to:

"A person (especially a man) that controls sex workers, arranges clients for them, and takes a cut of their earnings."

Now, because this is the internet, I feel the need to make it clear that I do NOT think a Pimp is equivalent to a Slaver (though they overlap in many ways). I AM saying that both character's fortunes were made through the exploitation of black bodies.

From here on out I'm going to differentiate between book/movie Louis and series adaptation Louis by calling the former "Book Louis" and the latter "AMC Louis".

Honestly, I should separate book and movie Louis too. I noticed they tried to clean him up a bit in the movie by having him "free" the slaves.

I use the word "free" extremely loosely because he didn't so much free them as he pulled a Michael Scott.

Above: stills from "The Office", and a clip from Interview With The Vampire (1994).

Louis! You cant just say they're free and expect anyone to honor it! There's paperwork to fill out! I mean, what white authority figure is going to roll up to a plantation fire and believe a group of slaves that say "yeh, our master was the devil! He set the house (and probably himself) on fire! oh...and right before, he said we were free!"

The book was far more realistic about this, there Lestat and Louis kill a good amount of them and the ones that weren't killed became runaways or fled to nearby plantations.

"Meantime, Lestat was after the slaves. He would leave such ruin and death behind him no one could make a story of that night at Pointe du Lac, and I went with him. Always before, his ferocity was mysterious, but now I bared my fangs on the humans who fled from me. my steady advance overcoming their clumsy, pathetic speed as the veil of death descended, or the veil of madness. The power and the proof of the vampire was incontestable, so that the slaves scattered in all directions. And it was I who ran back up the steps to put the torch to Pointe du Lac." "Some fifty-five slaves were scattered around the grounds. Many of them would not have desired the life of a runaway and would most certainly go right to Freniere or south to the Bel Jardin plantation down river." -Interview With The Vampire- Part 1

Pictured Above: A Voodoo doll of Lestat: Interview With The Vampire (1994)

Sometimes I think people forget, (or overlook) just how evil Lestat was portrayed in Louis' interview. Not only did he kill the young Freniere and prostitutes, he was said to regularly feed from and killed slaves.

Pictured Above: The deaths of slaves caused by Lestat circa Interview With The Vampire (1994).

"I assure you. That Lestat hunted for mortals every night, I knew. But had he been savage and ugly to my family, my guests, and my slaves, I couldn’t have endured it." "You must understand, Lestat knew this perfectly. Both of us had hunted the Freniere plantation, Lestat for slaves and chicken thieves and me for animals.” -Interview With The Vampire - Part I

When Lestat addresses Louis' interview. He never mentions the enslaved people of Point du Lac, but he does say the following.

"But this is the tale that was told by Louis in Interview with the Vampire, which for all its contradictions and terrible misunderstandings manages to capture the atmosphere in which Claudia and Louis and I came together and stayed together for sixty-five years."

"When he says I played with innocent strangers, befriending them and then killing them, how was he to know that I hunted almost exclusively among the gamblers, the thieves, and the killers, being more faithful to my unspoken vow to kill the evildoer than even I had hoped I would be? (The young Freniere, for example, a planter whom Louis romanticizes hopelessly in his text, was in fact a wanton killer and a cheater at cards on the verge of signing over his family's plantation for debt when I struck him down. The whores I feasted upon in front of Louis once, to spite him, had drugged and robbed many a seaman who was never seen alive again.) But little things like this don't really matter. He told the tale as he believed it." -The Vampire Lestat: Epilogue Interview With The Vampire

To me, this means "the slaves I killed deserved it and the ones that didn't...well, no one is perfect!" Which is understandable and pretty on brand for Lestat.

Above: Tom Cruise as Lestat: Interview With The Vampires (1994)

Going back to Louis telling "the tale as he believed it", I honestly think his "monster of a memory", dramatizations, and misremembering's are just Anne's attempt to redeem Lestat. When originally writing IWTV, Lestat was going to (officially) die in the fire that engulfed him before Louis and Claudia leave America. She ended up writing him back into the story and falling in love with his character, turning him into the brat prince we all know and love. It makes me think that that in order to mold Lestat into who she wanted him to be, rather than the villain she originally wrote, she threw Louis under the bus. That's just an opinion tho!

On to AMC Louis.

I think it was a smart and rather aware decision to make AMC Louis a pimp. Both AMC and Book Louis profit from the mistreatment of others. This consistency allows some the ignorance, hypocrisy, and irony of the book character to remain even though there was a change in race and there for his social status and privilege. During Lestat's recounting, he describes many aspects of Louis' personality. At one point he says the following:

"He was, after all, a discriminating and inhibited child of the middle class, aspiring as all the colonial planters did to be a genuine aristocrat though he had never met one..." -The Vampire Lestat: Epilogue Interview With The Vampire

This statement rings true for both Book Louis and AMC Louis despite their different cultural, racial, and generational backgrounds. Due to their occupations as a "planter" and pimp respectively, there is an innate ironic undertone that comes from listening to someone express their melancholy, depression, and self suffering knowing their lifestyle was build of the backs of broken bodies.

Side Note: I think of this line from "Hamilton" whenever Book Louis is referred as a "planter".

On that note, I feel there was (some) redemption for Louis as a character in season 1 of AMC's IWTV. This came in the form of his confession and the awareness of what he had done. At no point in the book does Louis reflect on any of the pain, hurt, or exploitation of the people who served Pointe du Lac. Louis (both in book and film) is known for many things, but taking accountability has never been one of them!

Armand doing a spot on impression of Louis. (AMC's IWTV S2)

However, in (what I believe to be) the best scene in S1, Louis takes accountability! It's one of the (many) reasons I tend like AMC Louis over Book Louis. He isn't just a shell of a person, a bystander. He's appears deeper and more complex. This Monologue has so many contextual, cultural, and religious conversation pieces within it. It was masterfully written and performed.

"Bless me father for I have sinned. Grievously, sinned. I'm a drunk Lord, I'm a liar, I am a thief, Lord. I profit off the misery of other men, and I do it easy. Drugs, liquor, women. I loiter men and grab what they got. I take daughters with no homes and I put them out on the streets, Lord. And I lie to myself saying that I'm giving them roof, and food, and dollar bills in their pocket, but I look in the mirror and I know what I am. The big man in the big house stuffing cotton in my ears so I can't hear their cries. And Lord, I dragged my family into this mess with me. I shame my father. I failed my brother. I lost my mother and sister, and rather than fix it like a man should, Lord, I run, like a coward. I run to the bottle. I run to the grift. I run to bad beds...."

In this next comparison, contrary to the last, I believe AMC Louis actions were more deplorable than Book Louis. In both telling's, Louis empire comes crashing down in a fiery blaze. In the book, those enslaved at Point du Lac being to rise against Lestat and Louis, sensing that they are inhuman. Louis suggests they leave before a full revolt breaks out but Lestat refuses while throwing hella insults at Louis...

"You whining coward of a vampire who prowls the night killing alley cats and rats and staring for hours at candles as if they were people and standing in the rain like a zombie until your clothes are drenched and you smell like old wardrobe trunks in attics and have the look of a baffled idiot at the zoo." -Lestat, Interview With The Vampire: Part I

I mean, what he said was true, but jeeez Lestat, tell 'em how you really feel why don't you!

Things come to a head resulting in the massacre and fire at Pointe du Lac. In this telling, Louis attempted to flee before things became bloody and out of control. Once shit hit the fan, he more or less gives up.

"because I had had enough of Pointe du Lac and Lestat and all this identity of Pointe du Lac’s prosperous master. I would torch the house, and turn to the wealth I’d held under many names, safe for just such a moment." Interview With The Vampire: Part 1

I give him credit here because it was never Louis' intention to cause harm or destruction. In this case (according to Louis anyway) it was Lestat's carelessness and stubbornness that lead to murmurings of a revolt and the deaths that followed. Yes, I'm defending Book Louis a little because he at least had awareness of how bad things could be and attempted to subvert it. AMC Louis on the other hand? He poured gas on the fire.

Pointe du Lac in flames: Interview With The Vampire (1994)

The fall of AMC Louis' empire was a hard watch for me. It's was incredibly frustrating because (as a black man) he should know better. He knows that his actions affect the black population around him. At that time (and still) minorities are seen as a monolith. When one fails, we ALL take the blame. You still see this regularly in the media. When a member of the majority commits an atrocity It is a reflection on that person (and maybe their family). But when a minority does the same, its all of them. It's causes a mass reinforcement of harmful stereotypes that hurts everyone in the community. In the worst cases it causes cities to burn and innocent lives to be lost.

Pictured above: Louis attacking Alderman Fenwick. AMC IWTV Season 1 Episode 3

Now, when I make posts like this, I often go back and rewatch things objectively to see if I still feel how I feel. And I do. In fact, Lestat and I feel the same.

Pictured Above: Stills from IWTV Season 1 Episode 3.

Right!? It's 1922! People were being lynched and burned for FAR less than murder. Quoting Lestat again:

Pictured Above: Stills from IWTV Season 1 Episode 3.

This was purely insecurity and selfishness. This was Louis feeling slighted and wanting his get back. Even if he had killed Fenwick and left it at that, I could let it go...MAYBE. But to display the body like that with the "White's Only" sign? He knew what would happen, he may not have been consciously thinking about it, but he can't feign naivety. This was self destruction, much like Book Louis setting fire to Pointe du Lac (and not even much different than Armand's self destructiveness). And, just like in the book, the black souls around him were collateral. While he was able to cut his losses, those he subjugated were left to die and suffer.

Above: A dead Alderman Fenwick.

Note: I am not discounting what happened to Louis. He was swindled, and understand his pent up frustrations, I do. It just doesn't justify his actions for me. At the end of the day this was over money and power. I'm gonna quote Lestat one more time:

Lestat: We don't need the money. Louis: It's not about that. You think I'm gon' let that snake bite me and my people? Lestat: You have your investments on the Claiborne Avenue. Louis: What, hats? Little grocery stores? Nickels, dimes, quarters. Lestat: So, it is about the money.

In conclusion, I LOVE drawing comparisons between the book and series. It shows how you can change a story on a variety of levels, while keeping the integrity of the characters and plot. Brava to the writers and cast. You give me so much to think and write about!

[fight-nights-at-freddys]

back at it on r/antiship. for the hell of it, let's go thru why these are strawman arguments at best, stupid at worst, or why what they're saying is objectively true!

TL;DR, half of the things they say are correct, but are framed as being bad things, and the other half is just misinterpreting what proshippers actually say. also they don't know what "normalization" or "romanticization" mean.

hiding under the cut so y'all don't gotta scroll for years

-first pic- that isn't the reason conservatives think lgbt ppl are pedos. they'd think that regardless of what fiction they like, because no matter what, they'd see us as predators/pedos/whatever bad thing. q art will always be inherently problematic to conservatives.

the reason WHY people equate "problematic" fanfic/art to q art is because they both deserve to be protected, they both are often called "degenerate", and that if they censor one, they'll censor both, because to the people that want to censor it, they're both one and the same. it's always "too sexual", or "what if kids see it", or "it promotes the Bad Thing", and just because they're pointing the gun at "problematic" fiction rn, doesn't mean they won't turn the gun on YOU.

-second pic- 1. fiction doesn't affect reality! at least not on a 1:1 basis! correct! 2. that is also correct! i can be interested in violent, gory movies, but i don't like OR condone violence or gore irl! correct! 3. if it walks, talks, and acts like a puritan, it's probably a puritan. stop advocating for censorship and puritanism and we won't call you that. 4. correct again! it isn't mine or anyone else's job to monitor what other people's kids do on the internet. the internet is not for children. 5. hate to say it, because i don't wanna say ANYONE protects predators, but antis do tend to create spaces where preds can sneak around undetected as long as they say The Right Thing™. 6. if you're allowing your 6 yr old to watch videos that say "fluttershy supports MAPs!", then you need to take away the ipad, not start banning shit. 7. gonna keep it real, idk what this means. stop using these words, i guarantee you they don't mean what you think they mean. 8. same as above 9. what 10. okay great, good for you that you only know ONE predator that's an anti. what about the hundreds of others that lurk in the shadows because they say the right thing, and pretend not to like problematic stuff? what about Kyle Carrozza, ya know, the anti that was arrested not too long ago? feel like we're ignoring some stuff here for the sake of pretending your side's good, and ours is bad.

-third pic- 1. well, antis are, aren't they? if you think csem should be criminalized (and it should), and you equate fanart to actual csem, then yes, you ARE trying to criminalize fantasy. 2. two things. for one, it's not always a sexual thing. hell, half the time it isn't. and two, fetishes DON'T hurt anyone (unless the whole point is to hurt someone, but there's always consent!) 3. correct! fictional characters don't have rights. are you advocating for them to? 4. you can't act like porn abolition isn't a cornerstone argument for A LOT of antis. if you agree that fictional smut is bad, chances are you think porn's bad, too. (which also overlaps with radfem beliefs too!) 5. they're not blood related because they're NOT REAL. it doesn't matter if they say they're blood related, because they're fictional. 6. are you insinuating you need to get consent from these fictional characters before you ship them? 7. why should i care? does it hurt anyone? no. does it do any damage? no. is there any downside whatsoever? no? then what does it matter. let people do what they want forever.

[dimespin]

I was rereading your amazing worldbuilding and ended up pondering a bit about Kee and Buzz the alligator hydra. 1) Do either of them find the fact they can be socially separate on the internet something freeing? 2) Do you think as alligator hydra get involved with tech, do you think it'd be more likely for them to share an account or have separate accounts for each twin? 3) As someone who has migraines, does Kee get any of the "migraine hangover" parts or is it all Buzz?

As far as the in-universe internet is concerned, Kee is basically a cryptid - guy you only know exists because Buzz says he's an alligator hydra so, there's got to be another guy, right? There's another face near his in his pfp so???

The separateness of their online identities is just incidental to them having almost completely non-overlapping interests, with Buzz loving to debate people and Kee liking media like tv and movies. It hasn't occurred to either of them that being socially separate could or would be either possible or desirable - especially since Kee doesn't like talking to people very much. As a singular human he would have been a rarely-online loner with too many streaming service subscriptions and a letterboxd account.

Instead his brother seems to be the main one with an online footprint but his likes have an odd amount of chill nature photography and fanart for movies he says he's never watched, and sometimes he types completely differently but only to ask if anyone knows the name of a song that goes like [voice clip that sounds exactly like the song but only one instrument at a time and you can hear outdoor noises]

I think for their species it'll always be up to each pair to decide what makes sense, based on what they're trying to do online and why. But at the same time because their species social adaptations are slightly askew of human psychology the solutions might not always go as expected regardless of whether they present separate or combined accounts.

Like Ani and Adler who have separate email addresses... that are both handled and answered by Ani, except when he thinks it actually warrants getting Adler to form the response instead of just telling him about it later when he's not otherwise occupied.

Kee feels some of the postdrome symptoms that I'd say are more secondary rather than the ones that are part of the course of the migraine - like Buzz's nausea makes it hard for either of them to stay hydrated, so Kee feels the side effects of dehydration, ironically including sometimes getting a mild non-migraine headache of his own. He also finds Buzz's migraines unnerving since it makes them both vulnerable, so he's quietly on high alert the whole time so when it's over he's pretty exhausted. He doesn't get the body aches, fatigue and difficulty concentrating though.

[wordsmithic]

Hi, sorry if this comes out as a ramble, but your Troy ask made me rewatch the movie (for the umpteenth time, lol), and it brought a lot of old feelings back, both good and bad. The good is how much I adored the Iliad as a child and that's something that still thrives today—since I was a kid, I loved Greek mythology in general, partly because I'm Palestinian/a fellow Eastern Mediterranean, so there is a lot of overlap in our histories, cultures, customs and myths, but the Iliad has always been a favorite. Hektor is my favorite character (and I love him and Andromache), but I also have an immense soft spot for Briseis... and now to get to the bad, rewatching Troy reminded me how a lot of people erase her and her role—and her romance—to Achilles in modern retellings. Now, I'm not going to argue which Achilles ship is the best (especially because that man is a hoe, if we're being honest), I don't care. My problem is the modern erasure of Briseis and the other women in Achilles's life that are romantically entangled with him being reduced to, "He's gay, actually." It reads biphobic if you believe him queer (Patroclus too, who had many named women concubines/slaves), first off, misogynist second. He has a son with his foster "sister," Deidamia, and in some versions even married. In the Iliad especially, Patroclus tells Briseis Achilles will marry her and Achilles himself refers to her as his wife/bride, stopping a whole war when she's taken, and she's even allowed to aid in Patroclus's funeral rights. In some versions, Achilles falls for Polyxena, and tries to make peace with Troy so he can marry her. In the afterlife, Achilles chooses Helen as his wife for some reason. Just... all these women, with complex situations and feelings, are all reduced or erased in modern tellings (and usually for a man/Patroclus), and it makes me want to scream. People use the excuse of, "We don't like the romantic situation they're in," but then claim to "better" it by... erasing or reducing these women and their complex roles and feelings from the story overall? Brieseis, for example, mutually loved Achilles and saw him as a husband... he also killed her first husband and brothers, and you can argue part of her love is out of the need for survival. Yet, she greatly mourned him when he was killed, too. And if exploring this complexity is still not your yum, what about Polyxena? Wouldn't she fit the girlboss archetype of using Achilles' affections to gain his trust, before stabbing him in the back (literally)? Or Deidamia, who's young and left at home, bereft of her husband and son? Heck, try and fill in the gaps how Achilles x Hellen happened, if you must. All these women have an important role in the story, and to Achilles, that could be explored—but people don't because they dismiss what's already there or don't know anything about The Iliad outside modern retellings (mainly The Song of Achilles). So, we get people claiming things that are untrue ("Achilles and Patroclus are exclusively gay!"... in some myths, they're actually relatives/distant cousins, fun fact 😭), and acting like they fixed something by "adding" onto "flat female characters" in a way that reads inauthentic and ignorant to the source material. I get wanting to prop up one's chosen ship, it's just the hypocrisy of promising to be more progressive in one area, but diminishing the progressiveness of another, that kills me. Anyway! Sorry for the rant, I just have a lot of feelings I wanted to share because of the movie and I know you've talked about all this before—it's just something hard to discuss on the internet without people coming down your throat 🥲. Anyhow, justice for Briseis, is my rallying cry, I love her so much, queen made a whole war stop for her and managed to escape from Agamemnon unscathed. Queen who launched a thousand ships to my heart 🫶🏻.

I'm glad you re-watched it! It's a beloved of many Greeks since the movie is quite epic and makes you understand some of the original's glory. Hector, Andromache and Briseis are some of my fave characters in the movie, and it made me also look out for those characters when they appear in the text.

Btw, I would love to know a Palestinian's pov on our shared traditions and myths, how do you guys learn the Greek myths, what parts of them have had perhaps an affect on your heritage and since when, etc! 😍

Briseis' situation is complicated one because many people won't catch the nuance of her living in a patriarchal society as a war captive and thus developing a strange co-dependence to her captors. In addition, the Homeric Epics are a work changed by time in the Greek society, as people added and altered stuff, so many storylines have been affected by other layers of patriarchal societies. So of course the notion of "slave girl mourning her captor's friend" would seem natural, because they probably don't consider a slave woman's POV. Or perhaps she was in the mourning because she had to be there as a woman "belonging" to the Greeks, and the text does not mention it explicitly because it a given for the era. (I don't recall the whole relevant text sorry)

I am not sure if the average author - judging by what is published in the Anglophone market - can handle the complexity of Briseis and other women in the Trojan war. For Briseis one could go for a romance there but they'd have to depict all of her psychosynthesis properly, so it doesn't come off as "Achilles killed my family but he is hot so I love him". To be fair, it is a challenging task but I am still sad that I haven't heard retellings that do this well. Such a retelling done well would be chef's kiss!

As you said, unfortunately, the writers for now focus on the couple Achilles x Patroclus which, ok, let's accept it since it's a ship and there is some background to it (although those guys are most likely 1) cousins 2) very close to each other like brethren in a way westerners misinterpret). I've enjoyed Song of Achilles and I am surely not against such works, but you are right that the female heroines are reduced to flat characters. A fandom full of women manages to be misogynistic - again. We shouldn't be surprised because misogynistic influences are very strong in our societies still, although many don't see it 😕

[downtroddendeity]

@turnkeyassurance saw your tags and figured I'd take the opportunity to pause my descent into madness to give my more sober opinions on the Ni no Kuni franchise, lol. (Warning: I am a humongous JRPG nerd)

The NNK games are really odd ducks, quality-wise. You can call either one a good game or a bad game and call either one better than the other, and any combination of those opinions can be something I think is entirely justified. Both of them have things they do remarkably well and also serious, profound, deal-breaking flaws, and the really weird thing is that there's almost no overlap between those two lists for the two games. What clicks and doesn't about both of them is going to be deeply individual.

What Ni no Kuni: Wrath of the White Witch does, with resounding success, is Vibes. It sets out at every single step with the goal of being a playable Ghibli movie, and it sticks to that principle. It's all about beautiful, cel-shaded whimsy. It's a game for people who want to feel like they're wandering through the meadows in the movie version of Howl's Moving Castle. There are lots of puns, and you can befriend all the random encounter monsters and feed them ice cream.

But that's also its Achilles' heel: because it's dedicated entirely to imitation, it has trouble bringing things to the table that are really its own. It has the visual and narrative aesthetics of Hayao Miyazaki's films, but it doesn't have the raw emotion at the heart of them. And as a game, its mechanics combine the clunkiest features of menu-based combat and action RPGs, and while everything about the Pokemon-esque mechanics seems designed to encourage players to collect and experiment with them, the balancing turns attempting to do that into a miserable grindy nightmare.

The other problem is that it... isn't actually the first Ni no Kuni game. Wrath of the White Witch is, in fact, a remake of the Nintendo DS game Ni no Kuni: Dominion of the Dark Djinn, which was never released outside Japan. The reason for this is pretty easy to explain, because DDD had another gimmick besides its aesthetics: it came with a real-life physical copy of the wizard spellbook, and the player had to look things up in it and draw sigils on the DS touchscreen to cast spells. So, we've got a high-effort remake that had to completely cut the central mechanic... and which also expanded the plot so that the original main villain was no longer the primary antagonist. This results in a game with what is very clearly a final dungeon and very clearly a final boss and very clearly a resolution to the story, which suddenly has a completely different plot dropped on it like a fucking anvil that it expects you to be just as invested in even though it hasn't had anything like the same level of buildup.

And ironically, this is almost the exact opposite of the biggest problem with Ni no Kuni 2: Revenant Kingdom, a.k.a. the one with my new blorbo, the President of the United Union of Eagleland. 2 is an effort to try to cement an identity for the series that can be its own, rather than requiring them to depend indefinitely on borrowed Miyazaki nostalgia. It just has the teeny-tiny, itsy-bitsy problem that at some point in development it had a budget shortfall so bad that you can finish the game without ever realizing that there is a continent-sized crashed interdimensional spaceship on the world map.

This game has had a machete taken to it. Don't get me wrong, I genuinely respect the work they did to make what they could with what they had, but you can see the signs of massive scope cuts to literally every aspect of the game. The back half of the game has almost exclusively recycled enemy and environment assets; voice acting has been trimmed down to canned voice clips; the catboy protagonist's ears and tail are barely animated; one minigame was so inadequately playtested that a level 16 mission is massively harder than level 50 ones; and while whatever restructuring they had to do to the main plot still left the final version with a more solid and coherent central arc than WWW in my opinion, it also left a lot of truly gaping plot holes, like oh, I don't know, why the President of the United States got turned into a 19-year-old.

Literally, they just. Entirely forgot to explain that. Half the DLC is just the writers scrambling to fix stuff like that and add a bunch of character development that should have been in the base game.

However, despite all this, I personally enjoyed NNK2 more than NNK1 unironically, not just for Rolandposting reasons. Compared to the first one, it plays much more smoothly as a straight action RPG, and while it can't provide the same knock-your-socks-off aesthetic cohesion, to me it seemed a lot more heartfelt- that is, like a game that was made because people had a story they wanted to tell.

But, well, we wouldn't be here if it wasn't for the non-unironic reasons, because the story they really, genuinely wanted to tell was about a magical catboy growing up and learning to become a leader, and somehow, miraculously, they really thought that was the story I was here for too when they opened the game with the President of the United States being isekaied by Nuke-kun.

Sorry, guys, I have a crippling addiction to dramatic irony and my day job is tech work in local politics, you could not have more laser-targeted this at making me specifically laugh my ass off if you tried.

[evilwickedme]

This was a comment in a marvel fb group but fuck it I'll post it here too. The problem with the DCEU is that it was trying to copy marvel and did it without understanding it. But the new DCU is doing something completely different, which I appreciate - instead of being cheap (metaphorically) imitation of an existing, more successful franchise, they're treating the DCU as an already existing phase three or four like world. Which means they get to introduce us to a world much more like the comics while still focusing on a character as the main character of their movie - I sincerely doubt anybody but Clark and Lois is going to get substantially more than half an hour of screentime, much of it overlapping. If done well, it'll feel like Superman organically fits into an existing universe, which is actually refreshing in a world where DC movies have just almost entirely been origin stories that don't tie into a universe, which is what comics are ACTUALLY like. I'm personally really looking forward to superman 2025

[satancopilotsmytardis]

Tanco, Tanco you've already written all the go to aus that I go for with games like this. You're killing me! Vamps, weres, mers, demons, gods, soulmates, porn AND cam stars. Fine I'll play it safe. Celebrity au?

Lol, look I know what I like, and the fact there's so much overlap just means that you're in the right place I suppose 🤣

Shigaraki is a famous video game designer (but famous in that fun way where when he gets invited red carpet events for whatever reason, no one knows who the fuck he is) and Dabi is a famous actor (no burns in this AU 😔). One of Shigaraki's games is getting adapted into a movie and Dabi gets cast as the lead.

Originally they were just introduced because Shig was just supposed to be on set for some of the development, another friend of his, a pretty gifted screenwriter (Spinner) was the one who was adapting the game into the new media and he trusts him because he listened to Shigaraki fucking planning the game for four years while they were roommates in college. And Compress, the director, has a great reputation of doing right by the works he adapts. Shig had really only meant to be around sparingly, but as soon as he saw Dabi he ended up wanting to be there constantly.

Dabi who still has an inferiority complex because his police commissioner father said that pursuing acting/art was nothing he should be proud of since he started doing it, thinks this is a sign that Shigaraki doesn't like him/how he's portraying the character and eventually confronts him one night as they're leaving set, and Shigaraki owns up to his stupid crush and says that he won't be on set anymore during Dabi's shoots any more if he's making him uncomfortable, he didn't mean to do so in the first place and he's very sorry he did.

Which makes Dabi feel like shit, because he didn't mean to insinuate that Shigaraki was acting like a stalker or anything because he really, really hasn't, he's been perfectly cordial to him and hasn't ever pushed the boundaries of professionalism. So, unable to stop his stupid fucking mouth before it gets him in trouble, he tells Shigaraki he can take him on a date, but if it's shit, then they pretend this didn't happen.

They go on a date and it's really nice, really fun, Shigaraki finds a bunch of little hole-in-the-wall places where Dabi can have fun without being worried about paparazzi harassing him. It goes so well they end up back in Shig's place where Dabi is mildly concerned over the practical dungeon he's turned his bedroom into, but Shigaraki proves to him that all of that is absolutely a positive thing, and they have a good night. And a good rest of the filming, and a good handful of months as the film is edited, and by the time premiere rolls around, Shigaraki is getting more of that 'who's that nobody, why is he with Dabi, and why the fuck is Dabi wearing a dog collar???'

[funarisjournal]

Nari's Tsukutabe Superlatives! (Part 3)

Comic Superlatives | Drama Superlatives

So here we are, just a few days shy of Christmas. Volumes 1-2 and the first season of the drama are just the right things to enjoy this time of year, you know! I've even semi-joked that S1 is technically a Christmas movie and folks should add at least one specific re-watch of it for the season~

Anyway, this is the final part to my Tsukutabe Superlatives series. This one's covering things that have overall representation in both versions. You know, generalized stuff. There's also a silly bonus superlative at the end of this post because of an overlap between things I've been enjoying lately. So, let's get down to it, huh??

Heh, using a doodle I made myself this time~

MOST RELATABLE CHARACTER

"Makisu!"

So it's obvious I love the leading ladies. They're the stars. They're both amazing, but I wanted to give an extra shout-out to the woman who I feel a kinship with. Nomoto is such a dork, I love her. She gets really flustered like I can get if something doesn't immediately go the way I want it to (and can be calmed down in similar, simple ways). She's got a passion for cooking as a hobby and doesn't really see herself doing anything more than that (like cookbooks and influencers). That's me with drawing! Ever her romantic backstory is very similar to my own. Sure, her first love didn't happen until her 30s, but I had the same vibes as I was growing up and then found Leigh online back when we were seniors in high school. And even then, I experienced a lot of that "Am I REALLY a lesbian?" vibes Nomoto had until Yako explained stuff. Also, canonically, Nomoto is demisexual....just like me! The things she experiences as she falls in love with, confesses, then lives with Kasuga are so similar to my own things with Leigh lol. Maybe some of my own experiences end up bleeding through the fanworks I make, too~

There are headcanons that I subscribe to that she is possibly autistic (compared to Kasuga's more obvious traits) but masking REALLY hard due to her upbringing and what's expected of her, and honestly. Yeah. That's me, too. I'm not officially diagnosed, and I don't want to self-diagnose either, but I have similar traits she does as someone who is also, probably, undiagnosed.

BEST SUPPORTING CHARACTER

Yakoooo! Beacon of guidance for all the ladies in the story. She's amazing. I'm glad we have "elder queer" representation here. It would be fun to see nothing but romantic bumbling, but that may end up messing things up in the long run. Good thing Nomoto befriended this woman online! Also I love that they're oomfs. Need more of that online buddy rep!

WORST CHARACTER

Yeah. There's a worst...and it's Kasuga's dad. Nah, he doesn't deserve a picture. But my god I wanted to strangle him after the phone call with Kasuga. He was dealing all the low blows so fast. I do love the moment of vulnerability the drama ended up showing, though. It was all Emi Nishino's idea in that regard. She admitted in an interview she really had trouble keeping it together during this moment and was trying to keep herself looking all stoic as Kasuga normally does, but then she thought...well...I'm sure a little bit of emotion would show up, especially if Kasuga talks to someone she trusts. She voiced her thoughts to Manami and the latter just reminded her that, as long as she didn't slip out of character and felt like she was still in Kasuga's shoes, it should be fine. I love the drama version of this moment more because of this, by the way. They really brought out some raw emotions that STILL felt in-character!

BEST ARC

I had to think hard about this one since I'm limited to what the drama has shown (I actually love the current arc in the comic the most but it's not adapted....yet). So for now, I'd like to tread back on the last "award" and say this storyline - Kasuga's Family Arc (unofficial title) - is a close second.

I was really feeling for poor Kasuga during this whole thing. We see that she is frightened, paranoid, and downright emotional about her past. She tries not to show it, but it really was eating at her. Then she takes that plunge, so to speak. She frees herself from her past. But it HURTS. Her father doesn't go without a fight, ugh...And then she finally tells Nomoto, though the two universes split on when she tells her and it does affect things a little...but she tells her and the overall result is the same - she has love and support. She has her chosen family she can rely on. Augh~ Beautiful~

FAVORITE DISH

I would say the harako rice because it does look really tasty, honestly, but there's some special significance with the stollen I can't deny. They even promised to make a more proper one by next Christmas in the story. Will we ever get to see that? Will the promise be kept? It would be a good marker of how far they've come in their relationship, that's for sure!

BEST COMEDIC SCENE IN BOTH VERSIONS

Speaking of stollen...When Kasuga was denied more, at first, because Nomoto didn't even explain the tradition to her and she ended up eating the piece in one (or two, depending on version) bite(s).

BEST ROMANTIC SCENE IN BOTH VERSIONS

Okay...I can't avoid it. GET TEASED MUTHAFRICKS! (especially as the comic and the drama play the same scene a bit different). Not going into more details! Just trust me...Chapter 40 is gonna be gooooood~ (and Episode 30, as mentioned in the Drama Superlatives, is also really gooooood~)

(PERSONAL) FAVORITE RUNNING GAG

The fact that these two befriended one another, then confessed and started dating AND now live together.......................but they still call each other by their surnames. I've even made silly sketches of them getting married and even raising a kid together and they still use their regular surnames lmao. Even most of the fandom still just addresses them as such, me included! If you use their first names, that's fine! You're in the same small group as Nagumo lol

Actually, the moment Nagumo (in the comic only) uttered their first names with the -chan suffix is still such comedy gold. Kasuga drops her donut! Gasp!

FAVORITE FANFIC OF MINE (either universe)

I felt bad after writing Parts 1 and 2 and not actually giving a shout-out to my fanfics. I was thinking visually, okay? Agh, not an excuse lol

But anyway, Tsukutabe made me write WAY more than I usually have in the past 20 years of general fandom. So many to choose from...but I gotta hand it to "Be Selfish." It's my most popular fic in general (over 60 kudos on AO3!), it still reads fairly well, definitely not a stream-of-conscious fic like most of my other works (which isn't bad, but can make for awkward reading later, I think lol). It has all sorts of fan art attached to it - from me, but hey! If someone gets inspired, I want to see your interpretations, too! *wink wink, nudge nudge* Anyway, I actually re-read this one often. 'Tis a good one if you are okay with the rating! (But really, you should check out all my fics on AO3~)

BONUS: BEST MANAEMI INTERACTION

They sure did meet a lot this year compared to the post-S1 era, huh~? They have both said how the distance just kinda closed in the more they worked together and now they're getting together for food dates and giving us, essentially, freebie Tsukutabe continuations during this drought of new content.

But my fave is still the time Emi had announced her month-long vacation overseas back in September, and Manami's reaction was to offer her a send-off party, and they just have a BLAST both in the photos and in the comments ("If I get lonely, I'll video call you~~ And I will~~~" - Emi). Remember the naan meme from the drama superlatives? Yeah, never mind the one piece of naan, we were all eating the whole dang curry party that night! lmao

I hope you enjoyed these silly posts I made. If you want to make your own version, feel free! I know it's awfully specific, but hey. I had a blast~ Merry Christmas, and if you don't celebrate it, may the rest of the year be easy-going, hopefully...and well, you'll still hear from me before the new year but I will still see you all next year with more food lesbians lol

A pic for another fanfic of mine, but honestly it suits this post for a "The End" shot~

[t00thpasteface]

Hiiiii₍⁠₍⁠◞⁠(⁠ ⁠•⁠௰⁠•⁠ ⁠)⁠◟⁠₎⁠₎

Could you explain the hipster Vs fandom war. I've been on here for like four years and I never knew that existed lol and btw I really really love your art and you are one my biggest inspos for how I imagine and draw my Clark.

i'm not sure i can explain it in a way that makes sense, and certainly not in a way that makes you say "i understand why this was such a big deal", but gl'bgolyb knows i can try.

first, let me take you on a sensory experience... picture in your mind the following things... skinny jeans... nerd glasses... a weirdly dapper fashion sense in a time where everything is baggy and neon... boom, you have 2010-2014 online tumblr hipster culture. and also 70s elvis costello, oddly enough.

although admittedly i don't know his stance on pumpkin spice lattes.

anyway. now that that's burned into your brain, consider a significant population of this exact type of person that has already been well-established on this microblogging platform around the turn of the decade. tumblr doesn't really have an app yet because smartphones haven't taken over everyone's life yet, and online fandom culture is still largely dominated by deviantart as the main "fandom hub". most people, myself included, are getting their main meme fixes from facebook (which your parents were not yet on) or the icanhazcheezburger image-aggregator network. THEN EVERYTHING CHANGED WHEN THE FANDOM NATION ATTACKED.

somehow, a huge crowd of people who considered their favorite books/movies/games to be core personality traits began to set up shop on this fair slate-blue isle. i number myself among this crowd, having been lured here by google-image-searching for miscellaneous fanart in 2011. the "old guard" largely belongs to, and continuously attracts new bloggers within, a burgeoning subculture that 100% defines itself by bucking popular trends and social expectations... whether or not this is actually accomplished by purchasing beverages from starbucks and putting old film filters on every photo, i cannot say.

you may be seeing an issue already arising: hey, if the hipsters hate everything that's popular and gatekeep all their interests, and the fandom bloggers are obsessed with extremely popular franchises and are hell-bent making them even more popular, isn't that going to cause a little friction?

well, yes. it caused a fuck ton of friction. a division arose early on between "the fandom side of tumblr" and "the hipster side of tumblr." some people, like myself, played both sides. others abstained from the rigid dichotomy and considered themselves to be on another "side," like the science side of tumblr, known for explaining relatively straightforward STEM concepts in large essays that began with something like "listen up fuckers."

ahhh, unfriendable. such a narrow little window in time where cheezburger sites and facebook had equal sway in the online zeitgeist.

interestingly, as someone who trawled a LOT of aesthetic tags, the most popular of which was simply #aesthetic (it was shockingly consistent in there), i never actually saw hipster bloggers complaining about fandom bloggers. it was always the other way around, with fandom bloggers bragging about how much they're freaking out the squares to get cool points with other fandom bloggers, all while never actually engaging with the hipster bloggers because their tags rarely overlapped.

hi, marge! we're freaking out the hipsters!

regardless of whether there was any material reality to it, or if it was simply a Minitrue level of entirely fictional warfare, this concept entrenched itself into the fandom bloggers, likely as a way to still feel "edgy" and unique while, again, obsessing over extremely popular and mainstream things like doctor who, pokemon, avatar the last airbender, the brand-new mcu, and other decidedly non-counterculture media. even with things it felt like no one irl had heard of, like hetalia and homestuck, those were online juggernauts nonetheless, the former of which had dominated deviantart for years and the latter of which prompted hotels and convention centers across the world to implement very strict rules about unsealed body paint. people treated fandoms like they were some sort of exclusive country club with membership fees and a dress code. and dunking on hipsters became an entire genre of Fake Internet Story, which were already pervasive on this website.

what's the point of being in a clique if there's no outgroup to flex on? #swag

this whole phenomenon ran concurrently, even symbiotically, with other tumblrisms like "tumblr university" and those horrendous "not like other girls" memes...

which means, of course, it was absolutely dead in the fucking water once DashCon happened in 2014. i don't need to tell you what happened at DashCon (there's a million essays and videos about it if you're one of today's lucky ten thousand who's never heard of it), but all across the fandom side of tumblr, it felt like finding out your parents lied about santa claus. turns out the fandoms you're in don't actually say anything about who you are as a person, a bunch of tumblrinas can't just will a fully functional micronation into existence just by wearing tacky merchandise in a public venue, and magic probably isn't real.

i wish i had some grand way to end this story, but really the moral is the same as it ever was: online drama is eternal, inescapable, and completely fucking worthless. if you only post to get mad at shit, especially if you're just making up a guy to get mad at, cut that out. touch grass. look at images of cats. i don't remember any of the enemies i made from this era, but i fondly remember all the friends, and i'm richer for making those positive connections. that's all for today's episode of Tumblr History with Toothpaste Face... remember to tip your waitress and stay minty.

[animehouse-moe]

Delicious In Dungeon Episode 7 Staff and Preview

Staff

Storyboard: Miyajima Yoshihiro Episode Director: Nakano Koudai Chief Animation Director: Takeda Naoki Animation Director: Yoshigaki Yuusuke, Handa Shuuhei Takeda Naoki

Trying something a little different today (mostly because there's not much else to talk about)! Basically every anime out there posts previews and preview images (sometimes there's an overlap between the two) on their respective websites, along with staff for the episode. I thought it might be interesting to chat about it and give a bit of a background.

If you want all the news and info for the episode though, you can find it here. I'll just be talking about the interesting bits though.

Miyajima Yoshihiro

First and foremost (obviously), the series director for Delicious In Dungeon. As a series director, they've done a great job with the work. It's remained refined and well polished, and the staff behind each episode have been afforded a good deal of freedom. The issue more so lays in Yoshihiro's boards within the series.

They've done great work outside of Delicious In Dungeon, and their work within (episode 1 and the Opening) is still solid- but it feel distant. It feels like it focuses on fidelity and refinement more than feeling. Which is very odd considering the strength of their most recent boards on Cyberpunk Edgerunners 7-8. Regardless, the preview images for the episode look strong, so I'll remain optimistic that Yoshihiro brings some energy this Thursday.

Nakano Koudai

Similar to Yoshihiro, Koudai is a diehard Trigger staff member, and a strong anchor within the studio for episode direction in the last few years. Their most prominent work being episode direction alongside Yoshihiro on the latest Gridman movie.

Anyways, the point is that their work is very strong (despite having so little to show off), and they did episode direction for the third episode. That's not a guarantee of anything since they basically manage the production of the episode, but I would say that it keeps spirits high.

Yoshigaki Yuusuke

This is a big one for me, personally. They're a very prolific staff member with an incredibly strong history at Trigger (and even before at Gainax). Their work will always be great, so there's not much else to say.

Handa Shuuhei

A bit more of a "looser" Trigger staff member, Shuuhei has certainly created a name for themselves over the years. They're certainly no Yoshigaki, but I'd say they're a very strong complement-slash-addition.

And that's about it. It's a relatively straightforward staff for the episode. If I were to really summarize it, I'd say that the quality of the episode is going to be undeniably great, but the style rests almost exclusively in Yoshihiro's hands.

I have more confidence than prior episodes with Yoshihiro here though, and that's largely because of the content of the episode. Whether or not my hunch on great work comes to fruition or not however, I really do not have any doubts that the animation will remain stellar. So, I'd certainly say it's (another) episode to look forward to.

[leconcombrerit]

Last one and I'll stop bothering you, but here's the big outline of my interpretation :

An endless loop

The boys are stuck in a loop ; as Phee said at the end, even he, Jin and Tee had never left the house. I don't think they're dead. I just think them being dead or alive doesn't matter, because they will all circle back to the house in the woods anyway, and the loop will start again from the beginning of ep 1. Much the same as Phee didn't remember how they got out, they won't remember how they got back in. They won't remember much, actually. Events will replay the same way they had last time -and the time before, and all those beforehand for all we know. A neverending recreation of Non's first and only movie. But I think there's more.

If they die like Por, Top, Fluke, White and New, they're brought back to the loop anyway. Death isn't a get out of jail card. If they get away like Phee, Jin and Tee, they get brought back as well -but I think they keep a vague memory of the slaughter on a subconscious level. Not the flashbacks kind ; rather that feeling etched in your bones, something you don't even notice that still guides your moves and thoughts.

The masked figures

Time travel usually tends to get tricky since the very principle of a loop is that things already happened while they're happening, the masked figures would be the boys' own 'ghosts', or previous selves if you'd like. I made a post about it here, and another here about which masked figure would represent each character.

Tee's memories

Tee freaks out and refuses to consider any option other than the ghost of Non being out to get them. He feels guilty, sure, but he still seems to overreact compared with his usual behavior. Not that I had noticed much since we barely knew him at the time. Tee knows. He does't know that he knows, but he knows anyway. And he'll get rid of the ghost haunting him and protect White this time.

Just kidding. He failed again.

Phee's memories

Unlike the others, Phee breaks out of the nightmare by his own means. He doesn't cave in like Fluke, Top or even Tee ; he doesn't need saving like Jin. Phee escapes by convincing himself what he sees is entirely an hallucination, a certainty that allows him to figuratively let Non die and keep the ghost at bay (more about it here).

A ghost that can't appear if you're not scared ; if you don't believe in it at all ; if your mind isn't plagued by fear and clouded by drugs. Phee abandons Non again to save Jin and Tee, but forcing your way out isn't going to be enough to beat Non's curse. His mind being the clearest, he'd retain bits and pieces that would help him navigate the scene, as I mentioned in one of the linked posts. One of those memories would be that Non doesn't haunt them, it's all manmade. Second would be little things that allow him to make impeccable guesswork.

Phee being Phee, he probably tries his best to save as many people as he can every time. But hey, he failed again. And he loses even when he wins.

The drugs and the ghost

When I said paranormal and factual dimensions were intertwined, I mean you can't cut a clear distinction bewteen the two. It overlaps. Some events are both paranormal and material at the same time ; I think that's what happens with the hallucinations the boys get. It is due to the drugs, yet at the same time it is Non. I felt like the more you see him with a mask on, the less it's him and the more of a drug induced hallucination it is.

Those who truly see him are the ones Non feels the most strongly about. Tee, who tried his best but also sentenced him to death. Phee, who abandoned him when he needed him most. Jin is still a mystery but I'm working on it. And New, of course.

New was never cursed ; he is part of the curse

New who doesn't see his worst fear come true, but gets comforting words instead, even after breathing the gas. New who is yet stuck in this nightmarish loop like the rest of them in spite of being forgiven by the end of it.

As I stated here, he serves as an ally for Non. He's the one who makes everything possible. Non holds his hand with the red string of fate on. New will forever carry out his brother's revenge, over and over and again. I don't think it's such a bad fate for him. He has the time of his life anytime he takes one of them down after all.

Could they break free ?

Ultimately ? I wanna say no. I like it better that way. Non won't forgive them. But if you told me 'hey, let's make a season 2, those fuckers need to find a way out', well...

A classic would be that they need to all survive. Or that's at least something they could try (and by 'they' I mean Phee, he's the obvious hero). Keep Por from impaling himself on a branch, or keep Top from killing him. Find ways around New's plan. Get everyone to calm their tits when actual ghosts haunt their hallucinations. Good luck with that.

Another classic would be to get them to accept and face what they did to Non. No more 'I'm sorry's, no more 'it wasn't me'. Man up. Face your fear. Look the ghost dead in the eyes and take it all in. Tee especially would need to get a lot of work done before he inhales the fumes, and more again when he faces Non. He did kill him. Trying to repair his mistake doesn't change shit to that. He has to stab him or he'll stab White.

Phee would need to accept that it is indeed Non he's facing. He needs to accept that he let him die and that Non hated him for it. Phee desperately wants to be a good man, true to his word, strong and reliable. He wasn't any of this to Non. His final reaction is the right one ; he had to let Non die in that bathtub. He had to let him jump off the roof. But he has to do so acknowledging that it's Non.

And if they all do this, Non doesn't have power on them anymore. His vengeance becomes empty. Only New remains as a threat, robbed from his main weapon. The whole thing becomes meaningless and falls apart. I hate it because Non and New deserve their killing spree, but somehow I don't think a second season would go that route...

[glassprism]

You've been in the phandom and on tumblr for a while and i've always been curious as to if you have any takes on how it's changed over the years? or perhaps just the overall attitude towards trading has changed? if at all?

I think the changes in attitudes in the phandom and the changes in attitudes towards trading are two separate things (trading overlaps with multiple musicals and all while also having it's own separate shifts), so I'm just going to stick with changes in the phandom!

I will also note that I've only been in the phandom since around 2010, which might seem long to some but doesn't to me, because I know people who have been around at least a decade longer than that. I should also say that even though I interact with the phandom on multiple platforms, I'm not everywhere and I can't read, you know, every forum thread or every post on Tumblr. As such, there will be thinks that I'll miss, as I can only speak to what I personally witnessed on the platforms I was engaged in, because that's what I know best!

With all that said, I'm going to split this into four parts.

Attitudes towards characters. I talked about this to some extent in a recent ask about the role of Christine, but in a general sense, there's been a shift towards appreciating Christine, Raoul, the Persian, Carlotta, and other supporting characters, or at the very least, taking a more complex view of them. This also applies to Erik to a large extent, and I've also seen a trend of seeing him as less the seductive, commanding figure and more love towards him as, I dunno, a weird sewer man. Honestly I could probably devote entire asks to each of these, but suffice to say, way more love for characters other than Erik.

Attitudes towards ships and fic. I put these two together because they're so complementary, though it also ties into the above attitudes towards characters. I think it's safe to say that, just like Erik used to be the most popular character, Erik/Christine was also the most popular ship. But I've definitely seen a large swelling of love for the other ships in the last decade or so: Raoul/Christine of course, but also things like Pharoga (the Persian and the Phantom) and Firdre (Firmin/Andre), Meg/Christine or Carlotta/Christine, and many a crack ship such as Rerik (Raoul/Erik) or Erik/Mirror Bride, Erik/Therapy, or Raoul/Madame Giry (though maybe this is just from one place). OCs (Original Characters) are much more in vogue as well and I feel like people are more willing to accept ships with OCs without deriding them as Mary Sues or author wish fulfillment and what-not. I think E/C will always be the most popular ship but people are much more willing to say that they ship something that's not E/C, or even to say they don't ship it, and to write non-E/C fic without worrying about getting blasted.

Attitudes towards adaptations. Going to be honest, what prompted this was me thinking about the seismic shift in perspective towards Susan Kay's Phantom, namely that it went from "This is better than Leroux!" to "Yikes". But that's only one example of a general pattern of appreciation for other versions besides the ALW musical - Leroux for sure, especially as people start to figure out the differences, sometimes major, between translations, but also towards, say, the Yeston/Kopit musical, the David Staller musical, other film adaptations, even Love Never Dies (which I think people sort of look upon now with a fond, "Oh you, you silly trashfire musical, I love you"). In short, more love for other versions.

Social justice issues. Lastly, I think the phandom has really grown more aware of various issues within and without Phantom and its adaptations. There's a lot to cover, but just to hit a few major changes, I'd say: more discussion about the manipulation, toxicity, and abuse in Erik and Christine's relationship, much more discussion about grooming with regards to aspects of the 2004 movie, more support for racial inclusiveness in show casts as well as where adaptations tend to go wrong (see the gollywog in the ALW musical, the constant erasure of the Persian, Islamophobia and anti-Romani sentiments in various adaptations, etc.), a lot more open discussion of mental illness, ableism, and neurodiversity when it comes to various characters, discussions of characters being LGBT, and lots more. I think a lot of these things were either not discussed or just dismissed in the years before so it's really cool to see people being far more open about all this.

And there's lots, lots more I could talk about, but I'll leave it at those four major categories! Hopefully it gives you at least a broad overview of the evolution of the phandom in the last decade or so!