#I'm obviously not the target audience though

[biyohime]

Y'all I am so fucking tired of having to do a background check (scrolling down on artist's posts) on every artist's posts to see if someone's a proshipper or just a generally iffy person, and even when I THINK they're in the clear I somehow find out too late when I'm already following them, please tag your posts correctly y'all so I know who to avoid. I don't wanna see random incest of the skeleton bros popping up on my feed when I'm having a grand ol time admiring art 😭

Like yeah ship what you want I know damn well I can't stop you but I don't want anything to do with whatever you're cooking up, it's just not to my tastes in fact I am allergic.

[atrwriting]

selfish - frank castle x reader

hey y'all back in action with another porn no plot one shot

all i'm saying is,,, they knew who their target audience was with this (or are we just all mentally ill?)

summary: frank shows you what it means to be a real, selfish man.

informal warnings: frank is the selfish man in this, but I was the selfish woman writing this. couldn't get this out of my head as I started season two of the punisher, and frankly (haha get it -- sorry) after this scene you wouldn't be able to either

as always, the actual warnings: vulnerable frank, #sadboihrs for both the reader and frank, smut, porn no plot, choking, dirty talk, and ROUGH frank

anyway... selfish:

“what’s your type?”

the million dollar question. the one that you had been troubling yourself over for years.

“my type?” you repeated, eyeing the man who asked you. “or my pattern?”

he tilted his head in curiosity. “both.”

you chuckled. “my pattern… well, they’re usually useless. man babies.”

it was his turn to chuckle. “you like taking care of them, yeah?”

you shrugged. “i love taking care of people, but not men that de-age into babies as time goes on. did you know a guy i dated asked me how to boil water once?”

“you’re joking,” he took a swig of his beer, eyeing you. “no way that’s true. made that up.”

“i wish,” you laughed, rubbing a hand over your face. “i’m also not making it up that i stayed with him two years after that.”

“sounds like your fault.”

you nodded. “the pattern made me realize what my real type is.”

“what?”

“it’s corny.”

“say it.”

a smirk attempted to appear on your lips, but you pushed it back down. “i don’t like selfless men.”

he let out a laugh in disbelief at that. “you and every other chick.”

you chuckled too. “i heard this an analogy once… if you’re falling over a cliff, would you want your person to save you? or someone else about to fall on another side of the cliff?”

he stopped talking then, listening intently.

you kept going. “obviously, i’d want the other person saved… but in my head, when i’m all alone and there’s no one that has to be saved… sometimes it’s nice to think that someone would be so selfish that they would save me over doing what’s right.”

“you could live with that though?” he asked, narrowing his eyes, a bit of judgement lacing his words.

you shrugged. “never been the person that was saved, so i’m really not sure. it’s not that i want to be saved or anything — that’s super fucking corny. but man, a fucking masculine man, putting you over other things? deciding that in that moment, you’re what matters to him? i spend all my days being selfless, putting myself in danger so other people are saved… and i’m tired.” you took a swig of your drink. “i’m really fucking tired.”

“why don’t you save yourself, then?”

“for the same reason you’re here,” you sighed. “when have we ever been selfish, frank?”

he laughed at that, but almost scoffed. “i don’t do anything i do for anyone but me.”

you swallowed then, clenching your jaw. “so many people have wronged you… but you’ve only done what you’ve done because of how people have wronged those you loved. hate to break it to you… but you’re as selfless as anyone could be.”

he folded his lips underneath his teeth and stared aimlessly off into the distance. there were bags under his dark eyes, and no amount of sleep or beer would ever take them away. the man would never know peace, and your heart broke at that. however, it was nice to know someone was going down the rabbit hole with you.

“i don’t think i’m selfless,” he finally spoke after a bit.

you raised an eyebrow at him, calling his bluff.

“i did the things i did because my family was what was most important to me,” he admitted. “that’s selfish.”

you swished his words around in your mouth a little, and decided he was right. the spin on your words made you nod, agreeing with him. “i see your point.”

“so, what?” he asked. “you want a man that would choose you over innocent people?”

you huffed, standing. “i know you know that i never said that. i’m saying that in the back of my mind, it would be nice, just once, for a selfish man to decide that i’m all he wanted. it would be nice to know that i don’t always have to carry the weight on only my shoulders.”

he didn’t say anything then, staying planted on his seat on the floor. he twisted the bottle in his hands and listened to you.

“if i’m being honest with myself…” you began, swallowing your heavy statement. “i would prefer if they saved the innocents, but only so i could die, as i probably would falling in that situation, with a clear conscience. all i’m saying is… it’s a heavy fucking burden always doing things so i don’t feel guilty.”

you walked away then, not muttering a goodbye. frank didn’t say anything either. you heard him raise the bottle to his lips once more before you shut your bedroom door behind you.

it would be an hour or so before you heard a gentle knock on your door. there was no yelling or screaming outside, so you were grateful to hear there was no imminent danger present. in your tiny pajamas, you answered the door to find none other than frank. he was leaning against a wall in the hallway that led to your door, only a couple feet from you.

he didn’t say anything when you came face to face with him. he just stared at you, placing all of his focus on your confused face. it would be a few moments of silence before he finally stepped closer to you, and placed a calloused hand on your face.

you froze. frank castle never touched you, especially in that way.

“wanna know my type?”

you stared at him and swallowed thickly. your lips parted to whisper, “sure.”

“an escape,” he whispered back. “i know what you meant by always having the dark cloud of duty hanging above your head, ready to kill any moment of peace you happen to get your damned hands on. i’ve done everything i’ve ever done for the people i loved, and i know the only way for me to experience any fuckin’ joy is with another person.”

his dark eyes held your gaze, and you soon grew lost in them and his words. you swiped your tongue across your lips and stepped closer. you could feel frank’s breath on your chin, but you couldn’t breathe. his scent, his stare, and his fucking words were more intoxicating than any alcohol you had before.

“you want an escape, frank?” you softly asked, eyes darting to his lips.

“i do,” he stated, before he lowered his head and kissed you.

his free hand immediately came up to the other side od your face and pressed against your cheek. there, he held you in the palms of his hands as you rested your hands on his thick, muscled chest. his lips were dry and cracked, but you didn’t care. the fire that brewed from his affection was enough to fill any of the cold, dark, and lonely places inside of you and you greedily drank from anything he offered.

“you want someone to want you, darlin’?” he asked in between kisses.

you hummed in agreement, not wanting to break apart your kiss for anything — even words.

“can’t get you out of my head, sweetheart,” he spoke, dipping his tongue into your mouth. “need to feel those long legs around me.”

you whimpered at his words, letting his tongue dance with yours. you could taste the heineken on his tongue and savored every bit. “please, frank… i need to feel you so badly.”

“i’ve got you, darlin’.” he picked you up by the backs of your thighs and you wrapped your legs around him. the pads of frank’s finger tips dug into your flesh and a warmth spread throughout you. “those fuckin’ legs.”

you would’ve giggled, but you were too consumed with the very touch of frank to even care. you pulled at his shirt and threw it over his head, sad to break the kiss for even a second. you immediately went to his neck and began to nip at the thick skin, causing a growl to rumble in the deepest parts of his rib cage.

“y’drive me fuckin’ crazy,” he grunted. “sweetest fuckin’ kisses.”

“oh, frank…” you moaned against his neck before he threw you onto the bed. you turned over onto your back to face him. he locked eyes with you as he stood over you, muscles naturally flexed as he undid his belt. your mouth watered at the sight of the fucking man before you, taking off his belt for only you. the way his shoulders, pectorals, and arms worked in the dim light of your room… that man would be the death of you. you hissed, “you’re such a tease.”

he smirked at that, throwing the belt somewhere in the distance. “think you’ve just never been with a real man before,” he replied, before engulfing you into another kiss.

frank’s hand dipped into your shorts and immediately went for your slit. your body fucking sang at finally being touched the way you needed to be as you arched your back into frank, his chest pressed against yours. when frank began to run rough circles around your clit, nothing could hold back your moans or him swallowing them whole.

“only took off my belt, and this is how wet you get?” he asked, biting down on your neck. his long, thick middle finger dipped inside of you as his thumb worked at your clit. he tapped against your upper wall and you keened into his touch, whimpering his name. “now i know it’s the men before me. barely doing a fuckin’ thing and i’ve got you like this.”

you nodded pathetically, just wanting him to continue. “it feels so good,” you gasped, bucking your hips into his hand. “please, please — don’t stop, frank.”

he leaned over and pressed his chest against yours before his lips found your neck once more. his kisses were wet and sloppy, and there was nothing better than feeling the weight of a strong man above you working at your needy pussy. his rough movements against your sensitive skin were sending you into a frenzy as if nothing mattered in the world besides frank — your world started and ended there. your body felt hot — steaming from everything this man was doing for you with barely any effort. your whimpers and gasps fueled frank’s movements as if he couldn’t get enough of them.

“such a good girl f’me,” he said before he bit down on your neck and kissed the spot. “y’get so worked up, i want to see what it’s like when you fall apart.”

“i’m so close, frank…” your voice was hoarse and full of lust, and you were about to break any moment.

“that’s it, baby, yeah,” he spoke, slipping a second finger inside of you. “cum all over these fingers baby. let me taste you after.”

“fuck, fuck, fuck —!”

your world came crashing down onto you. your strength was no match for frank’s, but with the way your back arched and body curled into him, your chests both rose off the bed. he wrapped a strong arm underneath the curve of your back as you fucking sobbed his name, holding you to him and supporting your weight.

“that’s it, darlin’,” he grunted against your ear. “yeah — that’s it. keep cumming for me, fuck…”

your hands grabbed at his thick biceps and you grew lost in his movements against the most sensitive parts of you that never ceased. your hips were rolling in circles with his fingers and your vision went hazy.

“so beautiful like this f’me,” he groaned. “might be mean and not let you stop.”

“fuck, frank,” you cried, whimpering for him. your body fell limp against his arm, and he lowered your bodies back down to the bed. during your comedown, frank kissed at your neck as his free hand ran up and down your body. his other hand continued to rub against your pussy and it was driving you fucking crazy. “let me ride you — please.”

your voice was full of desperation, and frank smirked down at you. he slipped his fingers out of you and rolled off of you onto the bed. you tugged his pants down to his thighs, not wanting to waste any time. you were so greedy, but he didn’t care. he smirked as he watched you pull down your tiny shorts. you straddled him, pressing his chest to yours, as you sank down onto his thick cock.

“my fucking god —“ you gasped, your pussy stretching around him.

frank immediately grabbed your throat and you sucked in a sharp breath at the sight. he placed the tips of his fingers in his mouth, and tasted your juices that remained on his skin. there you were, impaled on his cock, hovering over him as you watched the most sensual thing you had ever seen him do. his dark eyes were locked on yours, but your lips parted as you watched him taste you. only a smirk remained on his lips.

“sweetest fuckin’ pussy i’ve ever tasted,” he spoke. “now show me how she rides me.”

he roughly pushed you upwards so you stood up straight. the angle made a whimper leave your lips, as he was now fully inside of you and the deepest anyone has ever been. you planted a limp hand on his stomach, and began to roll your hips against his.

his calloused hands found your hips as he threw his head back against the bed. the tendons in his neck were on full display as he stretched his head back as far as he could. the pleasure he felt was spreading all throughout his body, and he couldn’t help but go taut at the feeling. you watched his mouth fall agape and his eyes close as a moan pushed passed his lips.

the pads of his fingers dug into your hips and pushed you forward and back. even his fingers were strong and had control over you, and you couldn’t help but willingly give everything over to him. your whines filled the room, getting lost in your own pleasure with him. there was nothing like the sight of being thrown into vulnerable pleasure with the man under you, succumbing to your touch.

“fuckin’ god —“ he moaned, raising his head back up to keep his eyes locked on where your bodies connected. “never felt so fuckin’ good.”

his hoarse voice caused you to move faster as you ground your hips against his. his hands were rough and desperate as they pulled you up, down, back and forth — until you didn’t know which way was anything. all you knew were the directions of frank’s hands, and you followed in suit as he dragged you down another road of ecstasy.

“greedy fuckin’ pussy,” he groaned. “never enough for her, huh? needs more, even after what i did?”

“yes, yes,” you whimpered pathetically. “your cock feels so good, frank. so fucking good.”

“yeah, darlin’, that’s it,” he grunted, brown scrunching together. “such a good fuckin’ girl f’me.”

“fuck, frank — don’t say that,” you cried loudly, biting your lip. “feels too good when you say that — i can’t cum yet.”

he immediately reached for your neck and pulled you down to him. you gasped at his rough touch, but your hips never stopped. he bent his knees so your ass could bounce off of them, giving you more leverage. his cock curled deeper into you, hitting your cervix.

“oh my — god —“ you sobbed so close to his lips.

“nah, baby, that’s not how this works — you’re gonna take everything fuckin’ i give you,” he grunted. “i know y’want to be a good girl f’me, yeah?”

“yeah, yeah, yes —“ you were incoherent at this point, ready to tell frank anything he wanted to hear as he bucked his hips into yours. “frank, i’m so close — how —“

“love a needy pussy like this,” he spoke, pulling you closer by the throat for a kiss. “you gonna be good to me? you gonna cum around my cock?”

“fuck, yes —“ you sobbed. “i want you to cum with me, baby, fill me up.”

that set him off. he rolled both of you over before you even knew what was happening. he had you pressed against the bed, hand still around your throat. you grabbed at his arm, loving having the feeling of his strong muscles hold you down. you wrapped your legs around his back as he threw his hips into you. over, and over, he drove himself inside you.

“dirty fuckin’ girl,” he growled, biting down on the skin of where your neck and shoulder met.

that was it. that was how you crumbled a second time for frank that evening.

you fucking wailed his name.

you grabbed at every part of him you could, struggling to hold on for dear life. your body shook with convulsions as your pussy tightened around him, locking his cock in place. nothing could stop his strong hips as they continued to rut into you — riding out your second orgasm of that evening.

you fell back against the bed, fucked out and gasping for air pathetically. frank pressed several kisses to your neck before he stood up on his knees, leaving your weak body below him. you pushed yourself to your elbows with whatever strength you could muster. frank grabbed you by the hips and you watched him slam his hips into yours.

you watched his forehead scrunch as his mouth fell agape. his chin was almost tucked to his neck as his eyes never left where his cock fucked into you.

“use me just like that, baby,” you cried. “i want your cum inside me.”

his strong, trim body went taut as his orgasm hit him, and you watched hungrily as the man before you fell vulnerable to the only pleasure he could allow himself these days. you watched as his conscious mind slipped further and further into the sensation until every ounce of stress and exhaustion left his face. you couldn’t help but bite your lip in pride and satisfaction — knowing that you will never see a more beautiful sight like frank castle using your body to get off.

you fucking loved selfish men.

----

DO YOU SEE WHAT I MEAN NOW EVERYONE GO WATCH THIS SCENE -L xox

[httyd-art-requests]

Hey I was just curious on what your opinions are on the third httyd movie. I don’t know if you’ve talked about this before but I’m just curious.

I haven't talked about it yet as far as I remember

I don't exactly hate it, but I usually leave it out of my rewatch marathons lol

I love love love all the new music we got with it, John Powell literally never misses with the soundtracks, and I love all the new dragon species it introduced. As you may have seen from some of my recent asks, Deathgrippers are my favorite dragons <3

I do hate the way it handles Toothless and, like, the majority of the important characters. This movie butchered literally everything the franchise tried to build previously. It completely disregards the messaging of the previous two movies, it turns the riders into complete caricatures of themselves, and it tries too hard to tie the story of the movies into the story of the books, which. Obviously doesn't work

It's not a bad movie if someone's not as deeply entrenched in the franchise as us fans are. It looks good visually, the conflict it sets up comes to a satisfying, if bittersweet, conclusion and it gives you baby dragons to coo and gawk at at the end so you don't feel too bad about the dragons leaving. I admit it made me cry when I watched it the first time in theatres. It works in a vacuum, and it only falls apart when you start to dissect it a little more thoroughly, or if you look at it as a fan of the established franchise. Which, you know, should be your primary target audience, but I'm not a producer so what do I know /lh

Overall, it's like a 5.5/10 for me

They did completely butcher the flying physics though, which is the primary reason I don't rewatch it as often as the rest of the movies

[marzipanandminutiae]

Rating the Femme en Noir Crimson Peak collection when I should be going to bed (it's not ALL critical, actually!)

no judgment at all to people who like the collection. nothing can achieve higher than a 7/10 because it's all synthetic. let's get into it

Edith Victorian Gown in Ivory

...yeah! that's basically Edith's nightgown copied exactly, so it's a 7/10 from me

2. Lady Lucille Victorian Dress With Capelet In Teal

What. um. What does this have to do with anything Lucille wears? It's blue velvet and it's a dress; there the similarities end. Why is there a ruffly capelet? That's something Edith wears, not Lucille. Why are there leg-o-mutton sleeves? Why is there no trim whatsoever? (that last is to become a running theme.) 3/10.

3. Allerdale Moth Wallpaper Babydoll Dress in Olive

There's a longer version, and were it a natural fabric, I'd be tempted to buy it and alter it into a blouse and over-skirt or something. This one is honestly pretty cute, though I forget what part of the house this wallpaper appears in. 7/10.

4. Edith Victorian Knit Cardigan in Olive

I get that they want to modernize these things for their target audience, but the original being SO much more fitted and sumptuous-looking just makes this one look sad. It's like Wish.com Edith. 5/10 for at least keeping the little velvet pumpkins.

5. Ghost Shoulder Bag

If this were leather, I would buy it. Not a huge fan of Margaret being the ghost on the front, though- I feel like Enola or Eleanor would be more photogenic. Poor Margaret. 6/10 though they're lucky I don't take points off for calling it "vegan leather" in the description. Be honest- it's plastic.

6. Belladonna Maxi Dress in Crimson Red

This is just an existing product of theirs But In Red. Pretty, but 4/10 for lack of effort.

7. Lady Mourning Victorian Gown in Black

It's the nightgown in black with a sash. Try harder. 3/10 and I'm skipping any color repeats labeled as different dresses from here on out.

8. Mourning Victorian Bonnet in Black

You know what? Yeah. Sure! That's a cute bonnet. Good job. 7/10.

9. Lace Mourning Scarf Veil in Black.

You can get a yard of nylon chantilly lace for less than $28, pretty as this looks. 5/10.

10. Victorian Cycling Pullover Sweater in Black

I mean. I guess. What does this have to do with Crimson Peak, exactly? Why is "Lucille" wearing puffed sleeves when, again, her clothing being tight has so much character logic behind it? It's a mystery. 5/10.

11. Victorian Velvet Bustle Skirt in Black

This didn't photograph well, but it appears to have some cool pleat details. I don't like 19th-century skirts getting shortened, but that's more a matter of personal preference than reaction to movie inspiration or lack thereof. 6/10.

12. Taffeta Edwardian Blouse in Marigold

This comes in multiple colors, but I picked the marigold because it illustrates that Wish.com effect once again.

The OG bodice from the movie that they're clearly trying to evoke. It has DETAIL! it has TRIM! It has LUSH FABRIC! And obviously you can't do that with a mass-produced piece, but ye gods, why would you set yourself up for failure by trying? If they hadn't gone for the look of a specific movie costume, their blouse wouldn't look disappointing by comparison. 5/10

13. Wicker Tilt Hat With Black Veil

Once again I feel they shot themselves in the foot here. It's cute! But it suffers by trying to be something that was better in the movie.

Not great by comparison; it's TOO close without going all the way. 6/10 because it is cute, though.

[skipped a bunch more veils and some lace mitts, which were cute but have nothing to do with How Well Or Poorly The CPeak Inspiration Was Executed In My Opinion]

14. Victorian Hands Belt in Silver

THIS IS NOT THE CRIMSON PEAK HAND BELT. THIS IS NOT EVEN TRYING TO BE THE CRIMSON PEAK HAND BELT. DO YOU KNOW WHAT THIS IS?

IT IS THIS 1970S BELT- WHICH, LIKE THE ONE IN THE MOVIE, IS NOT BASED ON ANY VICTORIAN ORIGINAL THAT I'M AWARE OF -THAT HAS BEEN COPIED 50000 TIMES. DO YOURSELF A FAVOR AND WAIT FOR CUTTLE AND BONE TO HAVE ANOTHER PREORDER OF ACTUAL CPEAK HAND BELTS. 0/10.

Conclusion: Not all bad, but I feel like I actually would have gone in a more modern direction with the resources and limitations of this collection. You're never going to be as good as the movie costumes at their own game, not with mass-manufactured pieces. So why set yourself up for failure? Bringing the characters, themes, and motifs to a yet-unexplored time and place (with some Victwardian touches, of course!) seems like it would have been a better way to go about this, IMO.

Also stop being allergic to trim when you're taking inspiration from a movie with oodles of passementerie and beadwork and lace all over everything.

5/10 overall.

[dumblucksers]

II 15 SPOILERS

here is my taco recap + analysis that I wrote after someone mischaracterized her in front of me:

just a disclaimer I have no idea what I'm talking about half of the time so sorry if some bits don't rlly make sense :P

ok so starting with her in season 1, literally all we see her as is this insane little cray say thing who has an iq of 7, apparently speaks French, spits lemons, screams randomly and says things that make no sense LMAO

she gets close to pickle and they stick together for basically the entire season

obviously we know now that her motivation this time was to become the fan favorite and get to the end so she can win the million (for reasons we don't know honestly, maybe find out in 16)

there are also moments in s1 where she'll slip up the act (but they play off as comedic effect) example when she calculated her fall in ep 12 or in 11 where she revealed her arms and was speaking full sentences to pickle for a second and a half

but anyway right at the end when she loses is where she reveals her true self and tried to steal the million after losing (and also severing her relationship with pickle)

one thing to point out before moving on is that taco is an analyzer, her act of being dumb gave her time to observe all of the contestants and pick the right allies and whatevs

n e way moving on to s2

taco has been stalking the entirety of s2 up until she reveals herself in 9, where she still wants the million (or rather half of it, and for reasons we still don't know) and she takes interest in the grand slams team, particularly microphone, who ironically doesn't exactly have a strong voice in the game and is, in tacos eyes, an easy target. So she reveals herself to mic and offers to help her advance in the game in exchange for 50/50 of the million

at this point taco only rlly sees mic as a pawn, and easily controlled. mic is unsure as all she's hearing is how useless and sad she is from a tiny British taco KSJSJSK

however mic is lowkey desperate herself bc she feels as though she isn't pulling her weight on her team, doesn't have much of a voice in the competition, she just lost soap aswell. so she accepts tacos help in the maze challenge using her gain setting.

now in 11 we see more of tacos strategies play out, as she further analyzes the grand slams, as it's categorized as: the alliance (baseball, nickel, suitcase) the friendship (suitcase and balloon) and the other ppl (knife and mic). Taco is more focused on the alliance and their relation to balloon, and she urges mic to get more involved in the pushing away of balloon to get him eliminated (and to further progress mic in the game) but rather than using the approach of attempting to make allies with baseball and nickel, we learn of tacos more violent tendencies. she wants to use a temporary paralyzer (courtesy of test tubes lab) to decapitate balloon. this is where mic draws the line, and also the episode where she proves herself to taco by instead of using violence, she substitutes subtle verbal and emotional manipulation instead. Taco is greatly impressed by this, and it's at this point where taco realizes that mic may not be as helpless as she originally thought.

now taco and mic are starting to reach equal ground, as in 12 they are more casual with each other and just chilling. it's also where the TIME TRAVEL STUFFF HAPPENS WHWOAOOAOAOAOOWOWOWOWOWOW

basically when they're down in test tubes lab and lightbulb activates the Time Machine portal thing, mic sees taco reach towards the portal, before it closes. this is (I think) the first time mic and the audience has seen taco look built a k o my god how tf do you spell vulnerable. ok there we go anyway this is the first time we see taco look vulnerable, and *possibly* regret towards her past actions. she reaches while saying "another chance, perhaps." and while at the time it could have been taken as another chance at stealing the million, ii 15 adds more context that she wants another chance with her relationships in the past, particularly with pickle, and she clearly regrets what she did.

now after this point mic is now a bit sus of what just happened, seeing taco reach for the portal. we also get to see another silly side of taco (not the cray say silly, just normal silly) as she tries to distract mic from the portal And from the fact that test tube and lightbulb are now in the time stuff.

oh yeah also at the end the episode knife finds out about mic and taco oh nooooo well go into that in a second

in 13 yknow they're trying to get knife to join them cuz now he knows and yeah yeah whatever. also taco and mic are getting closer as equals and as friends too so yeah

mic also brings up the portal and taco ignores, as per usual.

now let's get to the interesting stuff. Taco and mic are following knife around in the minecarts, and taco says smth like "is this you holding a grudge over my true self? For why? Everyone knows who I am now!" And mic says "doooo we thooooo????" this is like. 99% attached to the whole portal thing, bc mic saw that vulnerability and now she knows there's a teeeeeny bit more to the evil lil British Mexican food than what meets the eye

also there's another instance of taco and mics violence is bad bit, where knife is about to fall off, and while taco is like YIPPEEEE mic is like erm. No. And then saves knife

now here's where it gets even MORE interesting, where knife calls out tacos first alliance with pickle. Taco obviously gets mad at this, but mic doesn't rlly have a huge reaction except to tell knife that "she's(tacos) changing", which shows that she prolly put two and two together about the portal thing (prolly isss bc she stops pestering about it at this point)

now at this moment in 14 it's clear that taco and mic are partners in crime (well crime might be stretching it. Or not considering what happens), taco goes to shut down mepad so she and mic can teleport freely (and, to the prime shimmer spaceship) where the last violence is bad instance comes up. mic says PROMISE NO VIOLENCE and taco teeechnically doesn't promise, but yaknoww

now cut to when taco uses violence, she kills test tube and paralyzes fan to mics horror. she won immunity but at the expense of others , and that wasn't smth she was comfortable with, and that was her breaking point. she drops taco AND the entire show and eliminates herself

this is also tacos breaking point, in a way. where she realizes how much the game has shaped her into doing heinous acts, and for what, a chance at a cash prize? And now that she's completely out of luck for that prize, her work was for nothing. and it was at the expense of her two closest friends.

she pinpoints where she screwed up, and it was at the finale of season 1, where she broke her ties completely with her best friend just for a chance to steal the prize money. It was the game that fucked up her mentality, that every horrible thing that is done is for the greater good, and to use the rules of the game and the people you meet to advance for a extremely low chance of winning it all. Realizing all of this, taco doesn't want a repeat of this cycle, since the competition is so close to completion. She requests the challenge information from Mepad, and uses him as an incentive to Mephone.

But before we go there time to talk about her BANGER MUSICAL NUMBER YESSSS MY LIL THEATRE KID

anyway in the song id like to point out the banger lines "and we choose, to feel this pain, and we lose, more than we gain" which is basically everything I mentioned before about using the rules of the game and pushing away friends and whatever, and then eventually losing more than you get

next part "if I can't win the prize, I'll play my last reprisal, just to bring their lies all to an end" and then mepad is all like welll you gotta regenerate and tacos like, yeah that's prolly not gonna happen. And mepad points out how she believes she can't start on a clean slate. taco is like bro. with my track record? dawg there's no slate to begin with LMAO

but seriously with everything tacos done she believes it's too late to restart and that everything she did is irreparable (which ngl, kinda true maybe? but also not cuz she hasn't even apologized just yet) and mepad tries to convince her that yes you can change!!! youuu can make a difference...you can make it right... but taco doesn't rlllly listen

ok long story short she takes over the next part of the challenge which is truth or flare, where platforms rise if the contestants tell the truth and falls if they lie, and their fire has to reach the top and burn their rope. Taco, using her extended stalker knowledge of s2, quizzes the contestants on their interpersonal relationships and ngl as Mephone put it it's just a twisted group therapy session lmao

fast forward to nearing the end and the last question taco asks is to suitcase about what she thought she saw when she was being a floating bow tie. suitcase brings up her hallucinations, to which everyone, including taco, is horrified by. Taco sees how the game has affected suitcase, by making her so anxious that she literally HALLUCINATES, and that is yet another breaking point for her. She urges the remaining 4 to leave the competition before they go in too deep. She admits to her not caring about the cash prize anymore, as she "saw the desire took her to extremes" (the violence thing between her and mic) and how the game changes people based on how deep they get into it. She calls out Mephone for getting too deep aswell, as she brings up his challenges that clean up his messes, using tactics such as surprise double eliminations to add drama that mentally fucks with everyone involved in it. Her lil spiel is interrupted by a bush shake, since lightbulbs lil pen she's been clicking actually calls out a signal, and that anyone nearby could answer the call. Taco starts cracking out of fear? nervousness? Pressure idk anxiety any of those, because as knife points out, anyone could meannnn pickleeeee orrrr miccccc oh nooooo. knife says that she has to face her truths too, And then taco cracks completely and dies. annnnd everyone is horrified and sad, except for Mephone obviously, who is now threatened by taco since everything she said was true ngl jdhdjs

but also goes to show how mentally fucked taco is aswell, which while yes it is her fault that her relationships ended the way they did, the common denominator AND motivator is and was always the game.

anyway mepad and the other contestants force Mephone into reviving taco, and mepad formally resigns from the show convinced by tacos speech about leaving the game before it fucks them up. Mepad teleports away and stays with taco, urging her to stop hiding away from her truths and face pickle and mic, if for the last time. Aaand taco agrees

OK THATS IT WOW so tldr taco did some no no things But her unhealthy obsession with Winning a constantly (and unrightfully) changing game was the main factor, and her realization of this is leading her to a redemption arc that she and the people she hurt will (hopefully) heal from

weeee

[writers-potion]

Hi, I am trying to write a homosexual book that takes place in the 20s. I am unsure where to start and how bad the 20s was for homosexuality so if you have any tips it would be appreciated. Thank you for reading.

Homosexuality in Historical Fiction

I'm going to answer this in two parts: (1) Tips for writing queer historical fiction, and (2) the 1920 gay culture.

Get Your Language Right

Vocabulary is key to capturing how homsexual people identified themselves and interacted with one another at the time. Consider:

The kind of language/code used at the time. For example, gay men in the 1950-60s would have spoken Polari to skirt UK’s strict anti-homosexuality laws. This might mean your characters say seemingly ridiculous things like, “Bona to vada your dolly old eek!” (good to see your nice face)

Authenticity vs. Sensitivity. We don’t need to perpetuate old slurs just because they were used “at the time”. Would the readers of today (your target audience) be accepting towards use of such language? 

Is it really necessary? Just like in the case of foreign languages and dialects, it may be better to just refer to the code/secret language being spoken rather than overdoing it in dialogue. Also, does your character identify themselves as a part of this community at all?

Balance Between Struggle and Hope

Often in historical LQBTQ+ fiction, if the conflict is badly written, the readers are just going to feel angry and frustrated. Because:

Even the likable, otherwise reasonable characters won't be able to accept homosexuality easily, often opposing it downright.

Homosexual characters may be confused, struggle with self-doubt and self-hatred (which can't be fun to read, obviously)

The norms of the time make any “resolution” rather disappointing (compared to modern times).

Your goal is to juggle between these strong negative emotions to convey the central message and let hope shine through. Linger too much on negativity and your novel will be dark, but treating these themes 'lightly' will make you sound shallow.

So, treat oppression just as you would write a physical antagonist. It's powerful and a possible life-threatening opposition to the Lead, but it has flaws, loopholes and needs time to regroup before it hits our Lead again with increased force.

+ General Tips

Beware of giving your characters hindsight. As a writer, we know what happened both before and after the time period the characters live through, but they don't! The characters not being able to predict what comes can be a good tragic element.

The word “homosexual” wasn’t coined until 1869, and didn’t become common parlance until the early 20th century. From at least the very early 17th till the mid-19th century, the most common term for women was “tribade,” referring to the act of tribadism (scissoring). Some people used the term “fricatrice.” In the 18th century, “lesbian” and “Sapphist” started to become more common terminology. Men were called sodomites and pederasts (a word which didn’t have the paedophilic connotation it does today). The word “homophile” was coined in 1924 and was most commonly used by gay men and lesbians in the 1950s and 1960s.

“Gay” didn’t take on the almost exclusive meaning of homosexual until the 1960s, and even then, it was still used in the old sense of “merry” more than a few times. Only in the 1970s did it finally emerge as the most popular, mainstream word.

Less suspicions were aroused by a lesbian couple living together for decades than a gay male couple. Many people assumed they were just two very close spinster friends, not that it was a Boston marriage. There were many more questions about why two men would want to live together.

To avoid the very real risk of jail, lobotomy, conversion “therapy,” or the loonybin, sometimes a gay and lesbian couple would enter a ménage à quatre. Though it appeared on the surface as though two straight couples lived in the same duplex or right next door, they were actually just lavender cover marriages. Some had children (through various means) and co-parented.

Photo booths were seen as a safe space where a same-sex couple could kiss, cuddle, and embrace without fear of arrest or public suspicion.

Some lesbian couples were able to adopt children as single women, in jurisdictions which permitted that. More daring couples underwent artificial insemination and then went abroad to give birth, coming home with “adopted babies.”

Similar to the handkerchief code in the BDSM community, some gay men signalled to one another with red neckties and green carnations. Parisienne lesbians signalled to one another with violets in their hair.

There’s a long history of gay bathhouses, dating back centuries. Since male homosexuality was illegal and severely punished, a bathhouse was among the few places it was safe to meet potential partners and engage in sexual activity. Even the very real fear of police raids didn’t deter patrons. Manhattan, Paris, and London were home to many famous (and luxurious) gay baths, but there were plenty of lesser-known ones in other cities.

While not everyone was lucky enough to have a lavender ménage à quatre, many people had individual lavender marriages. Sometimes the spouse knew s/he was serving as a cover, sometimes not.

There were also more “traditional” ménage à trois marriages, composed of the lavender couple plus the true same-sex partner all living together. Sometimes these arrangements were composed of a bisexual plus a partner of each sex.

People did NOT casually out themselves! They could only confide their secret to other confirmed friends of Dorothy and extremely radical allies who had proven they could be trusted and wouldn’t turn on them.

You don’t have to make your straight characters raging, violent homophobes, but it’s completely unrealistic and historically inaccurate to show them all immediately, unquestioningly, lovingly accepting their friends’ homosexuality if the secret comes out. They might agree to not let anyone else know, but the friendship would probably be over. Other people, a bit more open-minded, might eventually reconcile but never be able to completely shake the belief that their sexual orientation is unnatural, strange, or wrong. Some people might only come around after decades of estrangement and realising gays and lesbians are just like everyone else.

To avoid discovery, some lesbians called one another by male names in their letters. Some liked those nicknames so much they continued using them in real life.

1920 Gay Culture

The United States - The Roaring Twenties 

As the United States entered an era of unprecedented economic growth and prosperity in the years after World War I, cultural mores loosened and a new spirit of sexual freedom reigned.

Harlem’s famous drag balls were part of a flourishing, highly visible LGBTQ nightlife

"Pansy Craze”: gay, lesbian and transgender performers graced the stages of nightspots in cities

lesbian and gay characters were being featured in a slew of popular “pulp” novels, in songs and on Broadway stages (including the controversial 1926 play The Captive) and in Hollywood—at least prior to 1934, when the motion picture industry began enforcing censorship guidelines, known as the Hays Code. Heap cites Clara Bow’s 1932 film Call Her Savage, in which a short scene features a pair of “campy male entertainers” in a Greenwich Village-like nightspot. On the radio, songs including "Masculine Women, Feminine Men" and "Let’s All Be Fairies" were popular.

On a Friday night in February 1926, a crowd of some 1,500 packed the Renaissance Casino in New York City’s Harlem neighborhood for the 58th masquerade and civil ball of Hamilton Lodge.

Nearly half of those attending the event, reported the New York Age, appeared to be “men of the class generally known as ‘fairies,’ and many Bohemians from the Greenwich Village section who...in their gorgeous evening gowns, wigs and powdered faces were hard to distinguish from many of the women.”

The tradition of masquerade and civil balls, more commonly known as drag balls, had begun back in 1869 within Hamilton Lodge, a black fraternal organization in Harlem. By the mid-1920s, at the height of the Prohibition era, they were attracting as many as 7,000 people of various races and social classes—gay, lesbian, bisexual, transgender and straight alike.

London - Balls and Adverts

Like other large cities at the time, London was home to many drag balls and nightclubs where the gay community could express themselves. 

"Lady Austin's Camp Boys" (1933): At a private ballroom in Holland Park Avenue, west London, 60 men were arrested in a police raid after undercover officers had watched them dancing, kissing and having sex in make-up and women's clothes. But despite facing a lengthy prison term and disgrace, the organiser, "Lady Austin", told officers: "There is nothing wrong [in who we are]. You call us nancies and bum boys but before long our cult will be allowed in the country."

Other gay men found partners through personal advertisements, which could be an equally risky strategy. 

In 1920 the publisher of a magazine called the Link and three gay subscribers were each sentenced to two years of hard labor on charges of indecency and conspiring to corrupt public morals.

Some adverts even appeared in the national press, such as the Daily Express, although they were not quite so blatant. People would ask for 'chums' of their own sex and offer to take people on holiday.

One man responding to an advert in the Link wrote that he was "very fond of artistic surroundings, beautiful colours in furniture and curtains, and softly shaded lamps and all those beautiful things which appeal to the refined tastes of an artistic mind". He added: "All my love is for my own sex", and wrote that he longed to give his love "in the most intimate way".

Gay adverts often had references to Edward Carpenter, Oscar Wilde and Walt Whitman, or would say 'I have an unusual temperament'.

Berlin - The Weimar Republic

The Weimar Republic, Germany’s first parliamentary democracy lasted from 1918 until 1933 and was a time of progressive cultural renaissance from cinema, theater and music, to sexual liberation and a flourishing LGBTQ scene.

Berlin was home to around 40 known queer bars, a number which had doubled by 1925. The cabaret bars and clubs like Eldorado were packed to the brim with lust, tassels, glitter and flamboyance.

Drag shows were the norm and stars like Marlene Dietrich (a Berlin-native) and Josephine Baker who were icons for the queer community, performed regularly in Berlin’s lavish halls.

Kiosks sold an array of well known queer publications like Die Hoffnung (The Hope), Blätter für Menschenrecht (Leaflets for Human Rights), Frauenliebe (Woman Love), and Das dritte Geschlecht (The Third Sex).

As homosexuality was still illegal, Berlin’s Tiergarten and other parks, Nollendorferplatz as well as train stations and the infamous octagonal public bathrooms

Underground spaces flourished.

Here's a list of books with an LGBTQ+ POV character, set at least partly in the 1920s:

Self-Made Boys: A Great Gatsby Remix

Dead Dead Girls (Harlem Renaissance Mystery, #1)

In the Field

The Lady Adventurers Club

Last Call at the Nightingale (Nightingale Mysteries, #1)

A Good Year

The Last Nude

The Sleeping Car Porter

Once a Rogue (Roaring Twenties Magic, #2)

Slippery Creatures (The Will Darling Adventures, #1)

Crazy Pavements

References

https://www.bbc.com/culture/article/20180212-polari-the-code-language-gay-men-used-to-survive

https://www.theguardian.com/uk/2004/jul/03/gayrights.world

https://www.history.com/news/gay-culture-roaring-twenties-prohibition

[beevean]

So some recent... discourse put into my mind the concept of "power fantasy", and how people relate to it in different ways. Of course, I'm talking about Hector :P

Is Hector, in the games, a power fantasy? I think the answer is "yes but actually no but actually yes it's complicated".

Let's be honest, first: Hector is a product of his time. He is, in many aspects, Castlevania's response to the wave of edginess that was en vogue in the mid-2000s - I don't compare CoD to ShTH for no reason lol. Hector was always meant to be an anti-hero contrasting the pure heroes the games always starred before him:

—Why did you choose the theme of "revenge" for this game? Iga: Up to now, the Belmonts have been seen as the good guys. I thought it'd be nice to do something other than a moralistic "good triumps over evil" theme sometime. After all, Castlevania has always had an excellent world for telling a "dark hero" story. Alucard would be one such character… though even he is fighting for a just cause: "I've got to stop my Father!" So he's still kind of a good guy. This time, though, I wanted the motivation itself to be impure. So this theme is what I came up with, and then I thought it would be even more interesting if each side was out for revenge on the other.

Hector has "impure" motivations. His quest is completely selfish: while all the other protagonists want to face Dracula (or others in his place) because it's the right thing to do, Hector is just in to kill the man who ruined his life. In fact, he really couldn't care less about the Curse, and multiple times in the game he asks why can't Trevor just deal with the issues he doesn't want to deal with lol. This is in line with other characters of the same caliber, such as Shadow sneering at a city being invaded by aliens until there is something in for him, or Guts who declares that he's willing to let a whole town fall prey to demons, as long as Casca is safe. However, this is not a detriment to Hector's character like it would be nowadays, as he's also very much mean to be "cool": while obviously every protagonist has his cool factor, even going back to Simon in the first games who defeated Dracula all by himself and then had to heroically struggle with the Curse, Hector is cool in that, well, deliciously over-the-top way that was all the rage back then. He can ride wyverns as he slashes them, he can go toe to toe with Trevor himself to the point that even he is impressed, he can forge a gun and an electric guitar, cutscenes show him punching a stone devil with his bare first, he gloats in Dracula's face that he can nullify his Curse... yeah, he's a gigachad lol. The flaws are only meant to make him cooler and not "boring", as paragon heroes were seen at the time.

I, personally, never cared about this part. I'm not the target audience for this kind of power fantasy. Sure, I like that Hector is over-the-top cool and I will always joke about his most outlandish feats, but I'm not so keen on reducing him to those alone. I couldn't even explain why avenging your dead lover counts as part of a power fantasy lol.

This is why I latched on so much on the first half of his story, the one where Hector deals with Dracula, and why I insist that Hector is much more than his admittedly cliché archetype of "angry man on a revenge quest".

Calling Hector "stoic" is not even knowing the meaning of the word. Calling pretty much any CV protagonist "stoic" is factually wrong, as even the more serious ones like Alucard and Shanoa have other depths to them (Alucard is still grieving for his mother and we see it in a nightmare, Shanoa was deliberately made stoic and she subtly longs to feel again), but Hector doesn't even begin to fit the definition of "One who is seemingly indifferent to or unaffected by joy, grief, pleasure, or pain". The whole point of CoD is that Hector was left so emotionally vulnerable by his grief that both Isaac and Zead used him as a puppet. Anger is the complete antithesis of stoicism. "well anger is still a toxically masculine emotion" - memes aside, Hector shows other emotions too, most notably around Julia, the only person with which we see how actually gentle and polite he is when he doesn't have Dracula's influence scrambling his brain. By the way, you cannot ignore the effects of the Curse on both Hector and Isaac when you analyze them, especially the former:

It can't be plainer than this.

And it doesn't come out of nowhere, because not only Julia herself tries to warn Hector that Devil Forgemasters are susceptible to the Curse, he acts vulnerable around her. He apologizes for his unjust outbursts, sympathizes with her plight, is visibly affected by her grief when Isaac dies... sure, it might be all because he's lowkey crushing on her, if you want to see it that way (and I do have my words over the plot point of Julia looking like Rosaly: I would have preferred if the game had more time to show that Hector grew to see Julia as her own person beyond her appearance), but the point is that this behavior highly contrasts with how angry and aggressive he is to everyone else, which the reveal of the Curse recontextualizes.

Also, just saying, while anger can be toxic, the point of these storylines is usually precisely that revenge is bad. Unchecked anger is bad for you, and you shouldn't let yourself fall down that spiral, lest you lose yourself. Isaac got consumed by his own hatred and died as a tool; Hector realized in time that he should snap out of it and survives, also because he was nice to Julia and so she grew to care about him and saved him when he tried to kill himself <- a reaction that is very unmasculine, might I add, as toxic masculinity dictates that men should make other people pay for their pain. bro. bro this is the complete antithesis of "toxic masculinity". Again, this is really not knowing the meaning of the word.

I don't even need to pull examples from the manga, but just for completion's sake:

iunno about you chief, but someone who bursts into tears just because wifey told him that she's happy he was born isn't exactly the portrayal of toxic masculinity to me.

Which makes me segue into the next point!

Hector and Isaac are victims of abuse, and this is another very important angle to understand them. And I'm not just talking about their childhoods, of which we only get hints, although of course it does matter that the two experienced so much hatred and rejection in their youth that Dracula was the better option for them.

We don't see the details, but Dracula affected both of them deeply. He put them in a competitive dynamic, favoring Hector over Isaac: Isaac grew bitter with resentment, which made him double down on his loyalty to Dracula, while Hector only got the appreciation he craved at the price of his very humanity and morals, which weighed on him. The point of this favoritism is not really the core of their rivalry in game, as that one was caused by Hector's betrayal, but it gives a different dimension to the character. It would have been easy to have the mistreated guy the one who decided to turn his back to Dracula, but no, it was the golden child. Isaac was so entrenched in this dynamic that he never broke free, choosing instead to blame Hector and do everything in his power to prove himself to an uncaring Lord, including (in the manga) killing his own underlings so that he would be free to face Hector by himself. From PtR:

"My own body is proof of Your expectations for him" is such a hard-hitting line. Isaac fears that he didn't even disappoint his Lord, because his Lord didn't have expectations for him in the first place. It's Hector the one he's so proud of.

And Hector hates it. By all means, he should be happy to have a home, to be respected and appreciated and free to use his powers. And he used to be!

"Lord Dracula... You once accepted and needed my powers. There was a time when such a thing gave me joy..."

Hector was grateful for his Lord, but he couldn't live anymore in the safety of the castle, if the price was committing indiscriminate murder for the sake of a senseless revenge, going against his morals and being used as a weapon. Hector had to make a choice: keep living under Lord Dracula's protection, but losing his humanity piece by piece, or breaking free and facing the world that hated him, but as a free man?

Hector chose freedom over conditional safety and love. He was ready to die, as long as he died a free man. He put himself first, he turned his back against people who did not truly appreciate him, and despite the mess he left behind it was the right decision. And that's the power fantasy I adore, and that is what makes him a strong character in my opinion. It's the embodiment of achieving self-confidence, the healthy selfishness, the affirmation of the self when everyone else around you only sees you as an object or a prize, the reassurance that even if you fall, you can always get up and try again and become a person you can be proud of.

And Hector, after breaking free, very much acts like a victim of abuse. I spent countless words over how he displays the belief that he needs to do something to earn the right to be loved by Rosaly, unaccepting of the fact that she simply does because, well, he likes him and sees the good in him, and that's it. I wrote a whole analysis on how this belief stems from a sad naiveté on how the world works, because Hector is naive underneath the aloof exterior, and it's not something to make fun of him for, but a tragic result of living under Dracula for so long. I'll also point again to him having breakdowns because he hates himself and sees himself as inherently unlovable.

I could also spend all the words about the parallels about how Hector loves Dracula and how he loves Rosaly:

In both cases, he latches onto the only person who has showed him a modicum of kindness. He wants to give his life for them. The difference being, of course, that Dracula only appreciates Hector for what he does (and I could also go into a whole tangent on how Hector was personally raised by Dracula to be his knight and he has a piece of his essence inside him which parallels how abusive parents see their children as an extension of themselves), while Rosaly for who he is. With Dracula, Hector understands that all the shallow care in the world doesn't matter if he isn't also respected as a person: he still cares about him, in some fashion, but not the point of clinging.

And if Hector is ready to lay down his life for Rosaly because she finally showed him what real love looks like, is it any wonder that seeing her die would spark such a fury in him that it makes him prey to the Curse and to being once again twisted into a tool?

The power fantasy comes from the part where Hector breaks free of the abuse and manipulation - twice over. But he is also relatable, with all of his flaws, weaknesses, and mistakes he makes. The whole point of Hector's journey in the first half of his story is that he feels the need to atone for his sins, and the consequences of his actions all catch up to him in the worst of ways. Ignoring this to reduce Hector to an edgelord who only spends his life angry and then hooks up with a Rosaly replacement (which incidentally also ignores Julia's personality and agency and I might even call as misogynist as the plot point itself) is a huge disservice to the thought and care put into him to make him stand out from his own archetype.

Power fantasies are not inherently bad. Depending on the fantasy, they can be inspirational. Hector is inspirational to me, if that wasn't clear, I see part of me in his circumstances and I admire his arc: it tells you, "you can break free too, you have the strength to do so, and you will find people who will love you without reason". And I just generally speaking find him a very well written character despite stemming from a rather outdated context, because all the details come together to make him fleshed out and tridimensional.

[catadrome]

outer wilds thoughts

thank you @toasthaste for the rec this game has been like catnip for me. spoilers under the cut (people are unfortunately right that if you're in the target audience of puzzle/mystery enjoyers you should play the game knowing as little as possible)

wow looking for help keeps making me run into spoilers. so far i think a lot of the really cool stuff I've discovered on my own, though--but perhaps i wish i had been able to learn about the jellyfish myself.

favorites include: what happens when you fall into the black hole and what's up with those purple walls and that ghost matter is not 1:1 with those crystals and that ice can melt and how you can learn things by learning the planet symbols and probably other things

the controls became intuitive way faster than I was expecting

i love how it's naturally broken up into ~20 min chunks (longer if I read a lot)

current open questions below (even more spoilery):

so is the tree planet bramble whatever connected to the sun or something? I'm pretty sure its gravity disappeared when it novaed

is that satellite going to be relevant ever or did I just fly out to ID the signal for my own satisfaction (also, is that second radio dish also for the satellite? I don't think I can get a second signal out of it)

is the attlerock's name significant? attle is like, waste or worthless rock, as distinct from valuable ore. it is missing that huge chunk and there are crystals sticking out

there are totally time shenanigans happening right. like obviously there are but I'm pretty sure there are more. stars don't do that usually right? and there was that hook with the warping that I have not yet investigated

where the fuck is the warp point to timber hearth

were they actually worshipping this fucking moon

what the fuck why are there floating islands on giant's deep

what the fuck is the point of the sand thing. is it more time shenanigans. wait fucking hourglass is it keeping time?

[beatlesbookblog]

This Boy: The Early Lives of John Lennon & Paul McCartney by Ilene Cooper

(welcome to the very first book review!!)

So, I read this book on the infamous anniversary of John and Paul's meeting a few months ago, and it was a simple and quick read for the most part. I was going to review this book hard because of its simplicity (which ultimately is not bad, it just depends on the book). However, I soon realized this book is meant for a more younger audience, so I'll cut it some slack.

Cooper is generally known for her children's books, so perhaps I wasn't the target audience for a book such as this (I found this as an ebook on my library website so I had no idea it was a YA historical book). Though, there were some aspects to this book I liked, genuinely.

I think this book did detail a lot about John and Paul that younger/newer fans may not know about. Though, I did notice there to be 2-3 chapters dedicated to John's childhood versus the 1-2 chapters about Paul. This obviously could be because of John's more troubled childhood versus Paul's, but I did find the John chapters to be more detailed than Paul's. I wouldn't say the author had more of a bias towards John, but I would have liked more of an equal amount of prose for both of them. It would have properly illustrated the equality amongst John + Paul's writing partnership once their friendship is established.

Another thing I really liked about this book was the introduction of the Quarrymen and more insight into them. Though, again, this book is generally geared towards a younger audience so there aren't insane amounts of detail you'd find in a proper historical book about the early Beatle days. Though, I think introducing the other Quarrymen members to the John + Paul story is a nice touch to this book. I tend to notice some Beatle authors sort of brush off the Quarrymen members to the side of the story, so this was nice to see in a newer book.

Is this book adding anything to the John + Paul story? No. Not really. If you're looking for an introduction to John and Paul as a newer or younger fan, I would recommend this book. It gives the basic history of John and Paul's early lives, their meeting, and the beginnings of their partnership. The book stops before the band goes off the Hamburg, giving the book a sort of "Nowhere Boy"-esque storytelling, which might be appealing to some people. Personally, I think it leaves too much out. Overall, I do think Cooper does a good job in telling the story of John and Paul to a younger audience, though I would have liked more detail. Then again, I'm not the target audience for this book so 🤷

------

Rating ⭐: I'd rate this book about a 6.5/10 given it's a basic introductory book, and that it's fairly factual.

Further Reading 📖: Though, if you are looking for a more detailed, thorough book of John and Paul's meeting, I would recommend The Day John Met Paul by Jim O'Donnell.

[theranilord]

After exchanging information with the elderly couple Wade had rear ended, they finally made their way to a nice and upscale bistro. Stone would've been impressed if he was actually looking for a relationship with the charming and yet awkward man beside him. But Agent Stone was on a mission. He had to find his doctor.

"My, this is such a lovely spot." Wade jumped out of the car and ran to the other side to let Stone out. Wade offered his arm and Stone linked their arms, smiling at his date.

"My friend Tom said it was a great spot. I hope you don't mind, he and his wife are gonna join us."

Stone's steps falter briefly at the mention of an audience. 'Tom... the Sheriff, Tom Wachowski?! I'm going on a dou le date and it's with the very people who opposed the doctor's capture of the alien?!' Stone groaned internally, at least no one would recognize him. Walking into the restaurant arm in arm, Stone kept his features schooled, showing only a warm smile to his date.

In the middle of the dining room was his target: The Sheriff of Green Hills and adopted caretaker of the blue menace, Tom Wachowski and his wife. Stone knew she was a veterinarian and had been in San Francisco through the whole terrorist fiasco. Stone would have to keep his wit about him if he was to survive this dinner and learn any answers about the location of Ivo Robotnik.

They turned and smiled in greeting, Tom standing to greet him. Stone had to admit that he showed a higher sense of etiquette than was expected.

"Hey, I'm Tom. This is my wife Maddie." She reached up and shook Stone's hand firmly. She had a strong but firm grip that made Stone take notice. She clearly was the decision maker in the relationship.

"Good evening. I'm Aban. Aban Stone. I run the Mean Bean." He said taking the seat Wade pulled out for him. Maddie nodded in understanding.

"Right, I heard about what happened to Karen. Can't say I'm sad to see her gone. She was not always the most pleasant." Stone smiled in his mind, though he couldn't admit to what he did publicly, he still felt proud. "So, what made you choose Green Hills?"

"Well. I was working a fast paced government job, but my department was recently... let go. I thought it'd be nice to start over somewhere... humble." Tom nodded along and looked at Maddie.

"Green Hills is a small town, true, but it's not always the quiet town." She and Wade laughed as if part of some inside joke. Stone felt a stab of anger deep inside. 'They know what happened. This is your chance, start probing!'

"Yes, Wade was mentioning something about an Evil Doctor?" Stone kept his tone innocent and curious to avoid suspicion. Wade may be simple but Tom and Maddie? They would be harder to read.

"Oh yea, this tall, thin evil scientist guy was investigating this black out caused by So-" Wade began and Stone noticed the slip before Tom jumped in and tried to cover.

"There was a bad black out, and some military branch of the government came to investigate, but they were on a wild goose chase. The man doing the investigation was very unstable. Thought I did it and had me labeled as a domestic terrorist. It's all settled now. The guy got relocated and everything was sorted out quickly." Tom took a drink and looked at Wade. "Hey, can I see you for a sec?" Tom didn't wait before heading to the bathroom, with Wade following as quickly as he could.

Stone kept his face blank as the officers retreated quickly, obviously to get their stories straight. He took a drink of water and glanced at Maddie. "Sorry, Tom is very secretive. And Wade isn't the most.... tactful."

"I'm sorry if I was prying. Just trying to get my bearings in a new place." He said apologetically. Maddie shrugged him off picking up her own menu.

"Don't worry about it." Agent Stone decided to take a brief moment to ask a genuine question.

"If I can ask... Wade... is he always...?" Stone left the question open, unsure how to phrase his question but Maddie picked up on it regardless.

"He's not the brightest bulb in the pack, no, but he does have a good heart. He also kinda misses obvious social cues, so you may have to be more direct with him." She nodded, looking almost fond of the simple minded man he's dining with. Stone paused a moment and considered how much Ivo missed basic social cues as well. 'Perhaps I have a type...'

Wade and Tom returned shortly and Stone decided to approach his date differently. This was going to require more finess on his part..

[bekolxeram]

I honestly think it's nothing personal. Someone just saw your post and felt pity because the writers often don't do this much research when it comes to the show, so OP and those reblogging the post probably thought you'd do yourself a favor if you stopped obsessing over the timeline. What they failed to notice, though, is that this is not really the focus of your analyses; you don't care about the timeline, you care about the aviation stuff. It's your passion so it's normal that you want to see it represented well or at least somewhat believable in the show. This is not a crime.

If you worry about potentially irritating people, you could always add a disclaimer on top of the post that this is just an info dump about the real world, but the show ultimately does what it wants to do so no one here should feel obligated to subscribe to your theories.

I think there are a lot of people actually appreciating your input to our fandom, but there will obviously be some who don't care and get irritated. It's normal. I get irritated all the time when I scroll on my "For you" page here on Tumblr just because people headcanon Buck and Tommy in a way that I don't. That shouldn't stop them from writing what they want, though. It just says that I'm not their target audience. I think the same's with you. If someone's really this annoyed because you write about something you're passionate about and it collides with what they believe to be true, let them. Add a tag that they could block if they don't want to see it. But don't let them dictate what you write about.

Sorry, this got really long, but I really want you to know that it's okay to be yourself here, even if some people don't appreciate it. There will always be those who don't, but there will also be those who do. I think your input is great for fanfic writing purposes at least. If you help just one person with your knowledge, I think it's enough to feel satisfied. Also, if Buck was real, I bet that your blog would be one of his favorites because he could actually learn some cool stuff about his boyfriend's profession.

Ultimately, this is your mental health and no one here can force you to do something you don't feel comfortable with. If their comments made you feel like you shouldn't impose, it's a shame but if helps your mental health it's fine. I'll miss your analyses and I'm sure plenty of people will too. But we'll have to accept it because there's a real person behind this screen and their comfort should be prioritized on this blog. But if a part of you feels like you don't want to stop, please listen to it before you make this decision and remember that it's okay to be fully and unapologetically yourself.

I actually love long posts. And this is so lovely, I teared up a bit reading it yesterday, so thank you.

I think you put into words very accurately what I wasn't able to. I made my first ever post the day 7x09 aired. (It was actually my 30th birthday.) Something happened that week, a Singapore B777 encountered severe turbulence over Myanmar, injuring 104, killing 1. The media immediately pointed out the jet "plunging 6000 ft in 3 minutes" using FlightRadar24 data. I'm not talking about tabloids, I'm talking about BBC, Reuters, Al Jazeera, reputable news agencies. Aviation experts contacted the media upon reading the articles and told them a descent rate of 2000 fpm is actually standard, more so when there are injured passengers in need of urgent medical attention. Even then the media didn't walk back their sensationalized statements until a week later. That combined with the widespread attention Boeing has gotten after the MCAS scandal and the door plug blowout earlier this year, this kind of clickbait-y reporting with numerous misconceptions always gives me the ick.

Then, as you remember, the tide on BuckTommy turned drastically around that time, when a subsection of the fandom realized Tommy was staying. And that's when I started seeing takes like he only "drove the helicopter", Hen was the hero, Tommy did nothing and didn't deserve a medal. As you can see I was already in that mindset, being irritated by aviation misconceptions, I really wanted to hit back with my measly little knowledge about flying. I was already seeing people over here getting annoyed by the constant negativity and fighting, then I had an idea, why not try explaining the 5 years vs 7 years at Air Ops conundrum by bringing the intensive training for LAFD pilots into it? I mean, the introduction Tommy gave Buck during the Harbor Tour was lifted verbatim from the real LAFD website. The writers didn't even have to google the "training takes 2 years" part, it was on the same page, they just had to scroll down a little and read a few more lines.

I just thought it would be a fun little hc/potential background story for Tommy, showing how hard it is to be a firefighting pilot. On top of that, competency and dedication towards one's goal is just super hot. Even the CAL FIRE air tanker stuff I wasn't trying to persuade others that the invisible string theory is wrong. I just saw and loved the idea that Tommy always "knows a guy". We only saw one example in canon of that, him being friends with the Las Vegas fights promoter, so I was like, wait, he knew a guy with CAL FIRE too! Maybe also sneaking in some fun facts about the power and danger of water dropping in an urban environment. I never intended to nitpick, I'm just trying to bring 2 things I love together. I mean real CAL FIRE didn't even start operating C-130 until last year, and I don't give a damn about it.

I wrote about my fear of one day being mistaken as one of the Tommy bashers because my current overfixation coincides with what the haters decide to fuss about that day. I saw pushback against looking too much into the timeline first 2 times I posted about Tommy's pilot career. As I said, I planned to keep writing about things I enjoy until the day comes that I unknowingly walk into the bear trap. Honestly, I feel like this time is it.

Like many BuckTommy enjoyers, I've been a little on edge since the hiatus started. We've got attacked, harassed and bombarded daily by a thousand different reasons Tommy supposedly won't be back for S8. Then I saw those planes, I saw that hangar, and I was so excited. I had so many ideas and speculations to play with. The 8x02 title came out, I finally got a couple aviation related asks, I was so pumped. I wasn't even thinking about CAL FIRE at the time, someone asked if it was possible Tommy flew that plane realistically, so answered it. And hours later, that post popped up, explicitly mentioning my theory, with 200+ notes. It was just... a little overwhelming.

I'm not even mad at those who think I obsessed over these things too much. I just... wasn't prepared for that. I thought, comparing to the months of bad faith discourse, I was just talking planes, helicopters and clouds, that should be quite tame? I did not expect it to be actually controversial. I just don't feel the same happiness nerding out about aviation in this fandom afterwards. Maybe I just need some time to process and perhaps tone it down? I don't know. I still have many ideas in my head and those asks in my inbox.

But once again, thank you for taking the time to read my ramblings. You have no idea how good that makes me feel.

[yinyuedijun]

You can answer this when you're off hiatus or... Not since I feel this is a bit uncomfortable to ask for, but may I ask how to write characters who had undergone csa? And how to write how they recover from it. Again I'm sorry if this is uncomfortable you can just delete this if this brings up an uncomfortable feelings I didn't know who else to approach w this question but you as your nightflower fic is wonderfully written and I want to write a character who went through something similair

But I'm afraid of coming off as insensitive and cruel or possibly even worse someone who's writing this as simple shock value or something along those lines as I have (thankfully and luckily) never experienced something like that which makes me afraid that I might write or put something very harmful in my work

I'm sorry if this is too much to ask ^^;;;; I hope this isn't a burden....

Hi anon, thanks for the question! This is a topic that is quite important to me (as I'm sure you've noticed lol), so I'm happy to answer your question. Please forgive me for the length of my answer though because I accidentally wrote a fucking thesis 😰

So, in my opinion, the first and most important thing to remember when you're writing about people who have experienced sexual abuse (underage or otherwise) is that no two survivors are the same. Even if there are many commonalities between the stories of different survivors, ultimately the experiences and recovery process (or lack thereof) is going to be unique for everyone. As such, I can't really give you a "how-to" guide on ways to shape your story, and in fact if I tried to provide you with one then you'd probably accidentally write a caricature of an SA survivor.

However, I do highly recommend that you read stories/anecdotes from real-life survivors in order to get a realistic grasp on the experience and psychological impacts of SA. If you don't have firsthand experience with this type of trauma, I think this is the single most important thing you can do in order to create a story or character that feels authentic and nuanced, rather than coming up with a caricature of a victim/predator or accidentally writing a pointless shock value narrative. An equally helpful thing you can do is read fictional stories relating to SA that were written by actual survivors, or fictional stories that resonated with actual survivors. This will give you insight into how this type of trauma, or survivors carrying this type of trauma, can be depicted in interesting or thoughtful ways - which is not something that intuitively translates from having real life knowledge on the subject.

Now, the second point I'm going to make is somewhat controversial, and you don't need to agree with it by any means. It relates to your fear of writing something "insensitive" or "cruel". While it's amazing that you want to write your story carefully and with intention, you should also keep in mind that "insensitive" and "cruel" are very subjective terms, and different audiences will have different thresholds for them. For instance, there are some people who feel like any meaningful representation of sexual abuse (especially child sexual abuse) is inappropriate to depict. There are many others who feel that your story must exist within certain boundaries to be considered an "acceptable" narrative about sexual abuse. If these people are your intended target audience, then obviously I would try to minimize any kind of discussion of the abuse - and certainly do not write any onscreen depictions of it lol.

However, if your goal is to create a story that feels authentic and nuanced, and you want it to be enjoyed by audiences who are interested in authentic and nuanced narratives, then I can tell you that paying attention to the above group of people is literally the worst thing you can do for yourself. Sexual abuse of any kind is an inherently insensitive and cruel act, and thus detailed narratives about it will always feel insensitive and cruel in some capacity. So, when you consider the execution of your story (the events depicted, the dialogue, the level of detail, etc.), I would advise you not to think about it only with the mindset of "how can I avoid writing something insensitive/shocking/fetishizing" etc. Instead, think about it in terms of the events and thoughts you must depict in order to bring to life the feelings of your characters, and in order to make their struggles and recovery feel real. You may end up with something wildly controversial. You may also still end up with a story that shows nothing onscreen, and does not go into any detailed discussion, and is nevertheless very powerful. Wherever you land though, you'll have landed there because it's the way the story needs to be told - and not because it's how someone else dictated it should be told.

This is what I do, and unsurprisingly a lot of my stories are offensive to people lol. But ironically, many actual SA/DV survivors tell me that my characters are relatable for them, and the stories make them feel seen. While I don't write my fics for SA/DV survivors in general, I do write them for me, and I generally prefer to read SA narratives that feel authentic and nuanced, rather than ones that are gutless or sanitized. That's why I prefer this approach, and I think this is also why my approach tends to produce stories that resonate with other SA survivors. But if you think your target audience will have very different tastes from mine, then this advice may not apply. It really depends on your intent!

All that being said - whatever you may write, or however you approach it, it is already a lot that you are thinking seriously about ways to write your story thoughtfully. This is already more than what most people do when they write about characters who have gone through SA, especially CSA, and I'm sure it'll come through in your work. I know I gave you a shitton of advice just now, but honestly, don't be afraid to just give it a shot and see what comes out of it LOL. You may come up with something that is exactly what you were aiming for. And if it isn't, then you'll at least have a better sense of how to execute it in the future!

I hope this helps!!!! Sending you love 🫶

[brujahinaskirt]

30 kcd2 trailer reveal little things / reactions:

Loving the increased Istvan / Henry parallelism

Loving the return of the red PTSD nightmares and so pleased WH isn't watering the game down, keeping up the trauma narrative realism, etc. I expected no less but still delighted by it. I love games that allow characters (esp male characters) to feel things, genuinely, and writing that treats the emotional invitation of its own storytelling with respect.

Good lord, the symbolism returns--as it must in a proper medieval game--but I shan't look too deep yet.

SKALITZ FLASHBACKS. HENRY'S PARENTS' WEDDING PREQUEL CONTENT? W H A T. I never thought we would get to go back; I am so thrilled to learn more about that time. I would have gladly gobbled up a Martin prequel. TELL ME HER FUCKING NAME, WARHORSE, YOU BASTARDS.

where is radzig

Mystery possible new love interest option? Or did Lady Stephanie visit the face sculptor?

And Theresa... where?

Mother of god, the forests and animals look incredible. I'm going insane. Let me pet things please.

How many times can Hans eat royal shit and live in one livestream? Let's find out. One, two, three...

The crime and punishment mechanics are definitely more complex at a glance. This is a good thing but I wonder how much was cutscene flavor and how much will really have an affect on the gameplay/reputation/etc.

I'm extremely afraid for Hans's survival. Not because of his constant trailer beefing (and he really took every opportunity to wipe out) but because of that shot with him doing the big dramatic eagle wing spread on horseback. You can't just do that and not expect to be punished by the narrative, bro.

MUTT IS BACK MUTT IS BACK MUTT IS BACK

is that pebbles? MUTT IS BACK please be pebbles

Henry's new hair is awful and I will be changing it two seconds in.

In general, Henry looks way more mature/stressed. Hard to say if there was a timeskip and Henry is now actually more mature or if the increased graphics allow him to look more like his voice actor, who is older than Henry. Either way I will be content. Will not catch me changing my son's precious face!!!

CROSSBOWS, HAND CANNONS

Istvan is pure fire, holy shit, cannot wait for this performance. Erik looks like a soggy newspaper. What happened king?

radzig? hello? anyone hear from this guy? typical for him to ghost

FIVE HOURS OF CUTSCENES???? YOU KNOW YOUR TARGET AUDIENCE. IT IS ME. I LOVE TO WATCH THINGS

Theresa's gonna be in it though, right? They wouldn't do us like that right?

Really excited to see them taking a page from RDR2 and incorporating a temperament-based reply system for non-dialogue initiating NPCs. I really look forward to all the added sandbox immersion enhancements from the first game, and I hope women are incorporated in a broader work spectrum for better historical accuracy.

WAS THAT GODWIN?

Is Hans going to teach Henry how to swim for real, as in a gameplay-altering swim mechanic, or is the topless on the riverbank scene just throwing a meaty bone to the hansry shippers (i am gnawing, i am growling when you try to take it away before i choke myself with it)

I love hearing devs and actors talk intelligently about the writing and character development arcs. Obviously they thought about it deeply in KCD1, but it's nice to see devs of an "action" game treating its narrative seriously, as artwork. Regardless of how the fandom idiots interact with it.

Hans singing a facetious little ballad for Henry (presuming it makes it into the game and isn't just trailer fodder) regenerated my cells. He DID promise in KCD1 (if you lose the tourney after agreeing to be his champion) that one day people would sing ballads in Henry's honor. Probably he did not intend for them to include the word "fuck" at the time.

This is going to be the grown up bromance we deserved in kcd1. Honestly it's so validating to see the second game recentering on that relationship and deliberately using it as the primary storytelling vehicle. KCD1 was pretty imbalanced in favor of Hans content, but it would have been better served by the game storyline fully leaning into the importance of that relationship, rather than trying to juggle it as a side-arc with several other arcs (and thereby creating an imbalance). KCD2 looks like it's built around the backbone of Henry and Hans's friendship and how it has profoundly changed them both/propelled their arcs in somewhat different directions.

On that point, Henry seems to have completely adopted Rattay colors now, but it's possible that's due to him operating as Hans's page (squire?) where we left them in KCD1. WHERE IS RADZIG

Calling Henry an orphan is a LITTLE generous given he was a whole ass adult man when his parents were killed, don't you think.

Calling Henry a lover is VERY VERY GENEROUS

I'm hyped.

[noir-fem]

daisy's thoughts on *that* scene

SPOILER WARNING!! I'M ABOUT TO YAP ABOUT HOTD SEASON TWO, SPECIFICALLY BLOOD AND CHEESE!!

DO NOT READ IF YOU DON'T WANT SPOILERS!!!

the scene itself

obviously, the show couldn't adapt B&C verbatim without traumatizing child actors in the process, so i'm happy that certain changes were made and that the actual murder happened off screen. i still think they could have kept small details that made it so horrific in the books without hurting child actors though.

the problem is mainly within the writing because there's really no build up. there's no scenes of Helaena being loving with her kids beforehand, no slaughtering of guards or bed maids to make Blood and Cheese look scarier, nothing that builds an impending sense of dread. also B&C being confused/low key cartoonish villains didn't help. these guys are supposed to know the Red Keep's secret pathways like the back of their hand; showing how intruders could get into the keep so easily definitely would have made the scene scarier.

also making B&C into a "misunderstanding " and having Aemond be the original target completely downplays the most evil thing the Blacks ever did and further shows that the writers are unashamedly biased towards the Blacks. the main message of the story is that both sides were war criminals who did awful things!! the senseless cruelty of targeting a toddler for something he had no role in was literally the point of B&C!!

i get that maelor doesn't exist yet, but they still could have done "a son for a son" and kept Helaena being forced to choose between her kids. one person on here suggested having her point to Jaehaera in order to spare Jaehaerys (the heir to the throne), but B&C killing Jaehaerys instead. i think something like that would have kept the psychological torture of having to choose and could still have been done without scaring child actors.

overall, if the writers were trying to out-do the Red Wedding in terms of horror, it didn't work. What made the Red Wedding so terrifying in the first place was the psychological aspects of it and all the tiny clues the audience was given beforehand, the small details telling the viewers that something bad is coming.

that being said, the show's adaptation of B&C still captured the horror of a child being murdered in front of his mother without showing it/being gratuitous. they did an amazing job with just letting you hear the sounds and leaving the rest to the imagination.

in conclusion: r.i.p. sweet baby jaehaerys. daemon targaryen, your days are numbered.

Helaena's reaction (or, rather, lack thereof)

i didn't properly understand/appreciate Helaena's reaction to B&C until i saw other people's takes and rewatched the scene for myself.

at first, i would have liked to see some sort of desperation like there was in the books (like Helaena begging and offering her life). HOWEVER, book!helaena and show!helaena are obviously gonna have some differences, especially with show!Helaena being a dreamer. and with her being coded as autistic/neurodivergent, her reaction makes total sense to something that i myself would do.

say it with me: there is no "right" or "wrong" way to react to trauma!! your brain is literally just doing whatever it has to do to get you out of that situation, and that looks different for everyone. a lot of people freeze or fawn! it doesn't mean that they're "emotionless" or unaffected by what's happening!!

now looking at it, Helaena's silent shock and horror were more gut wrenching to watch than any amount of screaming or begging imo. she's probably already seen this happen in her visions and knows that there's nothing she can do to stop it: all she can do is get herself and Jaehaera out of there. her resigned facial expression, her eyes, her quiet little pleas as she's carrying Jaehaera, her literally dissociating in order to get her and her daughter out of the situation and clinging onto her baby for dear life. Phia's acting was incredible and i believe she did her best with what the writers gave her.

now lastly....

the alicole scene

why???? just WHY????

look i'm all for alicent and criston being hypocrites and alicent finally getting to experience pleasure, but having helaena walk in on her and criston RIGHT after watching her son get brutally murdered.... i don't even need to say any more about this. nobody needs to explain why that is a bad writing choice.

my opinions on the show's take on B&C will likely change depending on how they handle helaena and alicent's reactions to it later on in the series. might even dabble in writing fics and drop my own take on this storyline sometimes hehe.

in conclusion, somebody PLEASE take Helaena's pain, quadruple it, and give it to daemon NOW.

[loonarii]

MADE IN KOREA: EP. 1 (my thoughts on the tv show for that british kpop bg sm decided to do for some unknown reason)

So if you didn't hear, SM Entertainment is the latest kpop company to dip their toes into the concept of a western kpop group - we had VCHA from JYP and their show A2K, KATSEYE from HYBE with their show Dream Academy (and I believe upcoming Netflix docu-series?), and now we have 'Dear Alice' from SM with the show 'Made In Korea: The K-Pop Experience'. Unlike the previous two groups, Dear Alice is a boy group, and are specifically all British, whereas the girls of VCHA and KATSEYE are from all over the world. As your local british kpop stan with access to BBC iPlayer (where this show is streaming) I decided to watch and drop my thoughts on the show and see if its any good, basically.

Right off the bat, the pitch to SM was clearly: 'we will make you a new One Direction' - like you can easily pick out of the lineup who is supposed to be Harry and Zayn and so on. It's not a stupid idea because after South Korea, the UK is probably the biggest exporter of music groups beloved internationally, but I doubt whether kpop stans will take to this well. At least they are promoting this on the BBC, directly to the UK, which is presumably their target audience.

They keep calling this whole thing an 'experiment' which it obviously is, but the higher ups at SM seems to be very on edge about the whole thing - after the groups first performance to Heejun (the director basically) she called a fucking emergency meeting with the SM team and the british producers - there generally seems to be a lack of confidence in the success of the group.

In the beginning of the episode they briefly mention (but for the most part gloss over) the audition process for this show, claiming they chose the five boys for their talents in singing and dance. Throughout the episode though it becomes apparently clear though that they (in the nicest way possible) don't really hold a candle to the debuted idols from SM. The whole show is based on this 'make a british kpop group in 100 days' gimmick, but the truth of the matter is you need a lot more than 100 days to become idol level good at dancing and singing - most idols train for 2 years minimum, some upwards of 6. I have no idea why they didn't choose boys with more preexisting skill in the audition process, or just give them longer to train - perhaps there could've been a bootcamp for a month before the going to korea bit to build basic skills - none of the 5 seem to be overly familiar with the kpop industry and it seems that pretty much all of their context as to what is expected of an idol is drawn from the SMTOWN concert they attended before their training began. They came off as quite unprepared, and Heejun's harsh comments to them in their evaluation clearly came as bit of a surprise to them. It is only episode one though, so i think if anything, now they know the level they are supposed to be at.

All of them apparently have a background in theatre or dance in some capacity (one of them is a tiktoker... ok) but only Dexter and maybe Reese struck me as having much aptitude for kpop dancing, but again it is only episode one so I'll cut them a little bit of slack. They struggled a lot with coordination and accuracy, but from my perspective as a dancer myself and kpop stan, the dance they learned to their song 'Feel the Vibe' (we will get to that don't worry lol) was not what I would call hugely difficult?? the members other than Dexter lacked a lot of fluidity but none of them were awful and I think with a lot more training they could be quite good. Olly seemed to struggle a lot with the dance, and there was some chatter from the producers that members could be cut, and if I had to guess anyone right now to be dropped (momentarily, I'm assuming anyone they kick is going to pull a Momo and be brought back) it would be him.

The song 'feel the vibe' is like.. what you would get if you asked an AI to spit out a 'boy group song' - it has a little bit of RIIZE energy so I wouldn't be surprised if this was an abandoned demo of theirs, but it also feels a little kidz bop? lmao? It's fine basically, not very exciting but not totally unlistenable. My main concern is that its quite a high song especially in the chorus, and the boys seem to struggle to hit the notes. Giving them a song that is out of almost all of their ranges is kind of setting them up to fail especially when they had a week only to learn it. Their poor vocal performance also explains why Heejun was so unconfident in this groups success - SM is is the kpop company known for its vocalists, being able to sing like Ningning or Taeyeon may not be necessary to succeed and debut in other big companies, but in SM vocals are crucial. Again they did only have a week, so at the very least potential is there.

They did a lot of b-roll content of them seeing the sights of Seoul, they did a gangnam style bit (god help me) met with Shindong (...), met RIIZE and TEN of WayV etc etc which was cool i guess - i hope this is a mainstay in the series and not just an introductory element.

Overall the show is not boring by any means, if a little cringey at times, my only concern is that the group that will emerge on the other side will not be up to par? I guess we will see.

[dokushoclub]

Do you have any manga reccomendations? I've been trying to start some but I haven't found alot outside of the usual beginner stuff like chiis sweet home and yotsuba. I've already read them though

Hi! Thanks for your ask and congratulations on finishing both チーズスイートホーム and よつばと! That's quite the achievement and I'm sure with this experience you are well equipped to read almost any manga of your choice next!

I can give some guidelines to help with choosing the right manga for your current reading abilites. From my experience it makes sense to look at a manga's target audience, the setting and the genre, e.g.:

Manga of the shonen and shojo genres usually have furigana on all kanji, which improves reading speed and also helps with looking up unknown words.

It is more likely that you will already know a lot of the vocabulary in manga that feature a contemporary school setting than those with a historical or a scifi setting.

For that same reason, romance plots are easier to read for learners than plots that involve politics, technology or the supernatural.

As with any guideline, your mileage may vary! Obviously, I don't want people who usually avoid romance to feel forced to read it. And if you perhaps already know a lot of genre-specific vocabulary through your interests, reading a manga that makes use of that knowledge would definitely be the right choice.

I made this decision chart for a blog post a few years ago and I still stand by it: