#SO many things about it that I've laid the groundwork for

[whumble-beeee]

hiiiiiii bee

im so fucling curious what the backstory is behind deeby and lana omg. meant to send a more coherent ask but post work braincel decrease is hitting me hard. also the dutch petname thing scared tge fuck out of me the first time.

ps this is also thw first time ive anon named myself

love - 🌿🚫 anon

God, mood about the post-work braincells. Also, I mean this with so much love, but it means so much to me that I managed to scare the shit out of you with that lol. He gets. Just so much worse. Let's just say everyone in my discord servers I introduce him to universally hate him with a passion. Get ready.

ALSO technically parts of Declan and Lana's backstory are giant spoilers, including what will be one of the bigger plot twists, so I can't tell you just yet. HOWEVER, what I can do is reiterate and highlight things I've already said in-story, plus what's gonna be revealed soon when I actually upload her character profile lol. All that under the cut.

So the first time you really first start hearing about Lana is in Chapter 7, where we also meet Vaughn for the first time. In that, we learn that 1. Declan and Lana are ex boyfriend and girlfriend. As in they actually used to date. 2. Lana is Declan's boss now in some capacity (and was the one to order Stan's kidnapping), and 3, Declan fkn hates Lana. So much more than he hates Vaughn.

In Chapter 8, we learn that 4. Vaughn and Lana are currently dating. That's not really too relevant, but it's really funny to me because their relationship is... something. I'm sure you can imagine. It's very mutually manipulative and they both know it, its awesome.

Anyway, then in Ch. 9, through Stan and Deeby's yelling match, you learn that Declan and Lana's relationship is complicated and he refuses to talk about it, but 5. he's kinda obligated to do whatever Lana says or face unspecified consequences.

Skip to Chapters 11 and 12, the ones with Marcus at the convenience store getting harassed, where we first meet Lana in person. We learn a lot about her, mainly that she 6. acts pretty bubbly and ditzy but is actually pretty smart, 7. is completely fine with SA, 8. is manipulative as hell, 9. feels safe enough to fuck with Declan's plans because despite how much we know Deeby to exert his will over others, he wont do shit to stop her. and 10. The big one: she was the one to give Declan his burn scars (with acid btw. everyone in the story has a weapon of choice, bc superhero lol. Lana is injectable poisons, gasses, acids, etc.). This is mostly just something you could assume, but when she gave him that burn scar, that was the turning point when Lana started manipulating Deeby.

Chapter 15, it's mostly just more of the same, Lana telling Deeby to keep Stan for longer, and Deeby can't argue back, he hates Lana but he has to do what she says, whatever.

So, to put it all together for you: Lana has Deeby under her thumb for some reason. She acts fake, she's manipulative, she's relatively smart, and she dated Declan which means she would get to know some of the more intimate details about him that she could blackmail him with. Also something happened between them where she literally burned him with acid, and now she is his boss (she's the CEO of Supramed Corp. actually, which would be revealed whenever I get around to posting her character profile lol) and makes him do bounty hunting jobs as well as basically whatever she wants. That's what we know so far.

You'll learn more about Lana as a person as well as the nature of their relationship as time goes on, and a lot of Declan's behavior has been partially shaped because of her. There's a lot more to her that hasn't been uncovered yet, although the context clues are all there in the story. I just pointed out the specific ones that relate to Deccy.

Also, one last thing to leave you with. I focus a lot on eye color in this story, it's always very important, it tells you a lot. Lana has bright blue, sky blue type eyes. Can you maybe think of another time I've described a character with eyes like that?

(also if you have any questions feel free to ask in another ask or the comments lol, idk if any of this is even comprehensible)

[tangibletechnomancy]

The reason I took interest in AI as an art medium is that I've always been interested in experimenting with novel and unconventional art media - I started incorporating power tools into a lot of my physical processes younger than most people were even allowed to breathe near them, and I took to digital art like a duck to water when it was the big, relatively new, controversial thing too, so really this just seems like the logical next step. More than that, it's exciting - it's not every day that we just invent an entirely new never-before-seen art medium! I have always been one to go fucking wild for that shit.

Which is, ironically, a huge part of why I almost reflexively recoil at how it's used in the corporate world: because the world of business, particularly the entertainment industry, has what often seems like less than zero interest in appreciating it as a novel medium.

And I often wonder how much less that would be the case - and, by extension, how much less vitriolic the discussion around it would be, and how many fewer well-meaning people would be falling for reactionary mythologies about where exactly the problems lie - if it hadn't reached the point of...at least an illusion of commercial viability, at exactly the moment it did.

See, the groundwork was laid in 2020, back during covid lockdowns, when we saw a massive spike in people relying on TV, games, books, movies, etc. to compensate for the lack of outdoor, physical, social entertainment. This was, seemingly, wonderful for the whole industry - but under late-stage capitalism, it was as much of a curse as it was a gift. When industries are run by people whose sole brain process is "line-go-up", tiny factors like "we're not going to be in lockdown forever" don't matter. CEOs got dollar signs in their eyes. Shareholders demanded not only perpetual growth, but perpetual growth at this rate or better. Even though everyone with an ounce of common sense was screaming "this is an aberration, this is not sustainable" - it didn't matter. The business bros refused to believe it. This was their new normal, they were determined to prove -

And they, predictably, failed to prove it.

So now the business bros are in a pickle. They're beholden to the shareholders to do everything within their power to maintain the infinite growth they promised, in a world with finite resources. In fact, by precedent, they're beholden to this by law. Fiduciary duty has been interpreted in court to mean that, given the choice between offering a better product and ensuring maximum returns for shareholders, the latter MUST be a higher priority; reinvesting too much in the business instead of trying to make the share value increase as much as possible, as fast as possible, can result in a lawsuit - that a board member or CEO can lose, and have lost before - because it's not acting in the best interest of shareholders. If that unsustainable explosive growth was promised forever, all the more so.

And now, 2-3-4 years on, that impossibility hangs like a sword of Damocles over the heads of these media company CEOs. The market is fully saturated; the number of new potential customers left to onboard is negligible. Some companies began trying to "solve" this "problem" by violating consumer privacy and charging per household member, which (also predictably) backfired because those of us who live in reality and not statsland were not exactly thrilled about the concept of being told we couldn't watch TV with our own families. Shareholders are getting antsy, because their (however predictably impossible) infinite lockdown-level profits...aren't coming, and someone's gotta make up for that, right? So they had already started enshittifying, making excuses for layoffs, for cutting employee pay, for duty creep, for increasing crunch, for lean-staffing, for tightening turnarounds-

And that was when we got the first iterations of AI image generation that were actually somewhat useful for things like rapid first drafts, moodboards, and conceptualizing.

Lo! A savior! It might as well have been the digital messiah to the business bros, and their eyes turned back into dollar signs. More than that, they were being promised that this...both was, and wasn't art at the same time. It was good enough for their final product, or if not it would be within a year or two, but it required no skill whatsoever to make! Soon, you could fire ALL your creatives and just have Susan from accounting write your scripts and make your concept art with all the effort that it takes to get lunch from a Star Trek replicator!

This is every bit as much bullshit as the promise of infinite lockdown-level growth, of course, but with shareholders clamoring for the money they were recklessly promised, executives are looking for anything, even the slightest glimmer of a new possibility, that just might work as a life raft from this sinking ship.

So where are we now? Well, we're exiting the "fucking around" phase and entering "finding out". According to anecdotes I've read, companies are, allegedly, already hiring prompt engineers (or "prompters" - can't give them a job title that implies there's skill or thought involved, now can we, that just might imply they deserve enough money to survive!)...and most of them not only lack the skill to manually post-process their works, but don't even know how (or perhaps aren't given access) to fully use the software they specialize in, being blissfully unaware of (or perhaps not able/allowed to use) features such as inpainting or img2img. It has been observed many times that LLMs are being used to flood once-reputable information outlets with hallucinated garbage. I can verify - as can nearly everyone who was online in the aftermath of the Glasgow Willy Wonka Dashcon Experience - that the results are often outright comically bad.

To anyone who was paying attention to anything other than please-line-go-up-faster-please-line-go-please (or buying so heavily into reactionary mythologies about why AI can be dangerous in industry that they bought the tech companies' false promises too and just thought it was a bad thing), this was entirely predictable. Unfortunately for everyone in the blast radius, common sense has never been an executive's strong suit when so much money is on the line.

Much like CGI before it, what we have here is a whole new medium that is seldom being treated as a new medium with its own unique strengths, but more often being used as a replacement for more expensive labor, no matter how bad the result may be - nor, for that matter, how unjust it may be that the labor is so much cheaper.

And it's all because of timing. It's all because it came about in the perfect moment to look like a life raft in a moment of late-stage capitalist panic. Any port in a storm, after all - even if that port is a non-Euclidean labyrinth of soggy, rotten botshit garbage.

Any port in a storm, right? ...right?

All images generated using Simple Stable, under the Code of Ethics of Are We Art Yet?

[windvexer]

Do you know if there's a chance that someone just... Can't do magic? I feel like none of my spells work despite trying different methods and advice, I've never been chosen by a deity like most practicioners seem to be, I feel like there's something I'm missing fundamentally that means I just can't make magic. How can I check, so I stop giving myself hope and then having it crushed?

Perhaps a bad faith take, but I doubt most practitioners have been chosen by deities. I am of the opinion that many people believe they are supposed to be chosen and then use very lax systems of omen reading to justify that such-and-such god is claiming them.

Over the years, many people have asked me for help getting their spells to work, or solving such-and-such magical blockage.

And unfortunately, just about every time, the end result is that the person really has not done as much work as they think they have done, and they are still more or less on square one (or square zero) of practice.

Here are the sorts of questions I would ask you if we were chatting about this:

Focus

What specific school of magic are you trying to learn? "Witchcraft" and "magic" are not schools. Are you trying to learn Traditional Witchcraft? Lodge Magic? Chaos Magick? Appalachian Folk Magic? Dianic Wicca?

Out of the school of magic you are trying to learn, how many books have you read about it?

Out of those books, how many of them focused on actual technique and theory? As in, explaining the magical theories as to why this system works the way it does.

Do you have a clear understanding of why this magical system works the way it does? Can you describe it to me?

Within the magical system you have chosen to study, is there a clearly laid groundwork for what practitioners are supposed to have to do before they are valid/initiated/adept within this system? If so, have you achieved all of those requirements?

How many months of ongoing study and practice do you think is reasonable until you are ready to move to a new school of focus?

Learning Plan

Witchcraft is a complex and variable skill that, like writing a novel, requires a working knowledge of many diverse skillsets.

What is the specific goal you are working towards at this time? "Getting a spell to work" is not specific enough. "Casting a prosperity spell that is able to generate small amounts of cash, gifts, or benefits within a 2 week period" is the type of thing I mean.

What is your lesson plan to achieve that goal? An example might be, 1) read a book on prosperity magic, 2) study and research 5 accessible plants related to prosperity, 3) learn an energy raising technique, 4) learn how to charge correspondences, 5) learn how to add correspondences to candle spell, 6) learn magical timing techniques.

Even if you do not have a lesson plan, can you name the top 3 things you have been actively practicing to try and become a better practitioner? Examples might be energy raising, visualizing techniques, talking to spirits.

Once you formulate a lesson plan, ask yourself how many hours you think is reasonable to spend on each step. If you don't think you've ever successfully raised energy before, do you think it's fair that you might require 10 hours of practice learning your first energy raising technique before you can do it?

Could you explain to me the steps you believe are required to perform magic? Include how many hours you've spent practicing techniques applicable to each step.

Practice

Think of magic as being like learning to close a restaurant by yourself. You must be experienced in all of the stations, and have in-depth knowledge about the standards required. Do you also have such experience and understanding when it comes to your own craft?

Outside of reading and study, since the start of your practice, how many hours of concerted effort have you put in trying to perform magical techniques? This includes energy work, casting spells, sensing energies, divination, talking to spirits.

Write a list of each specific magical technique you have tried to learn. Not just "energy work" but, "Earth-roots grounding visualization to raise or balance energy into the planet." "Gathering energy into the lungs and exhaling to release excess energy." "Trying to contact the spirits of tarot cards." Be very specific. Next, write down how many hours you think you have spent practicing each technique. Which techniques have you spent more than 10 hours practicing, even if that practice is across years?

Write down every spell you ever remember trying to cast. How many are there?

Of all the spells you've tried to cast, are they from a wide variety of intents (such as prosperity, protection, luck, binding, conjuring), or are they mostly one type (e.g., prosperity)? Write down how many different kinds of spells you've tried to cast, based on intent. Have you practiced at least 5-10 spells in each category?

Technique

You've asked me, so given the way I do things:

How long does it take you to cast simple spells? Do you think it might be reasonable to expect that casting even a simple spell could take 30 minutes or more?

When you work spells, how long does it take you to raise energy? This can also include hours/days spent finding objects/ingredients of natural power. Would you say that you spend at least 10-15 minutes raising magical power for every spell that you cast?

When you work spells, how do you imprint/program energy? How do you stamp it with your intent so you know it's going to do what you want it to do?

When you work spells, how do you deliver them to their target? What techniques and methods do you employ to make sure they can get to where they need to go?

Before you cast spells, how much divination or investigation do you perform to make sure the spell will be effective for your purposes? Even a perfect screwdriver will fail where a hammer is required.

Do you use traditional techniques like aligning your spells to planetary timing, gathering taglocks, casting circles, or calling quarters?

Hygiene

How often do you perform self-cleansing? Otherworldly grime can obfuscate magical power.

Have you ever cast, or had others cast for you, unblocking or unbinding spells to help open the roads of your power?

How often do you engage in managing your personal energy? For example, centering/reclaiming exercises to pull escaped energy back into yourself, or energy gathering exercises to build up personal power.

Resources

Of the people you are asking for magical help, are they all a part of the same group who carry similar worldviews and would tend to suggest the same advice?

Of the people you are asking for magical help, how many of them are able to affirm that they are mentors, teachers, spirit doctors, or consultants qualified to help people with the problem you have?

Do you have a group you can work with to practice skills, such as energy charging and energy reading?

When you cast spells, do you have someone you can send photos of the spellwork to, so they can try to perform readings or diagnosis on what's actually going on?

Reality

Have you chosen a start date for your practice (such as, "I've been a practitioner for 2 years,") but in reality you have only tried to practice magic for a very limited time (say, 1 or 2 months out of that period)? If so, is it possible that you are comparing yourself to the success of a practitioner of 2 years, instead of a practitioner of 2 months?

Does the kind of magic you believe in dictate that rigor and technique are required to achieve results? Or are you more working in the "visualize and believe" arena?

Are you comparing your successes to people who are telling the truth about their practice? Is it possible people you are comparing yourself to are not using rigorous self-assessment when they calculate their own wins?

Are you comparing your successes to people who may have been practicing for decades or more on intensive paths, or who have spent thousands of hours honing their practice within a single area?

Are you being realistic about what actual success looks like? For example, casting a protection spell, something not protected against happens, and then deciding that because something bad in general happened, the entire protection failed.

Anyway Anon, to actually answer your question: no, I don't believe some people just "can't do magic." In very rare circumstances, some people may have serious blockages or entanglements going on that must be resolved before they can do magic. Others may require less intensive spellwork like unblocking to clear the way (like idk, maybe granny prayed over you in the crib that you'd never get involved with all this evil occult stuff).

It's my experience that almost everyone who thinks they can't do magic, if they were being very honest with themselves, would have a hard time coming up with actual lists of things they have done to try to be better at magic; they have perhaps practiced for a handful of hours across several months; they are not learning core skills (like energy work, divination, or trancework); and they are not working off of tried-and-true systems, but are rather setting up camp at the intersection of every possible shortcut (clear quartz, rosemary, and roses are universal substitutes; you don't have to use any physical tools or ingredients; visualization is the same as energy raising; intent is all you need; traditional methods of targeting such as obtaining taglocks are irrelevant; casting a circle is irrelevant; magical headspace is irrelevant; building and consecrating of holy areas such as altars is irrelevant; astrological timing and places of power are irrelevant; going to great lengths to obtain or preserve power is irrelevant).

The other 3% of people pissed on a fairy tree when they were kids and need to spend a couple of months working with a mediator to rectify their relationship with the spirit world.

Do feel free to DM me, if you like.

[mimzywhimsy]

The Bowens Problem: Breakups, Feuds, and Narrative Tension

Think about your favorite wrestling feuds in AEW. I'll name a few of my own from recent memory; MJF vs. CM Punk, Swerve vs. Hangman, Mariah May vs. Toni Storm, and Daniel Garcia vs. Jack Perry. I also like whatever the fuck The Elite have had going on, but that's a whole separate post.

What makes these feuds great? Three things come to mind: Pacing, History, and Character Work.

I'll start with the easiest: pacing. Groundwork needs to be laid. Foreshadowing. Length of time, to really establish the relationship. Rushing a feud is like jacking off to relieve sexual frustration; it might get the job done in the end, but is it really satisfying? Would MJF vs. Punk be as good if we didn't have them blatantly ignoring each other for weeks before meeting face to face on the mic? Would Mariah May's betrayal be as gutwrenching if we didn't follow her efforts to gain Timeless Toni's trust?

The Acclaimed's breakup feud is good when it comes to pacing. Max Caster has been calling himself the Best Wrestler Alive on TV for many months now, and we've seen how his attitude change has slowly worn down on Anthony Bowens' last nerve. How The Acclaimed just aren't winning matches when it counts anymore; something's been off. They've been more and more out of sync in the ring, and Max has only gotten more abrasive and egotistical. Their breakup was hardly a surprise, for this reason.

Next, history. All the feuds I've listed above have this, to one extent or another. MJF's history as a rabid fan of Punk's as a kid. That autograph signing picture. Mariah May following in Toni Storm's footsteps, career-wise. Jack Perry's history as a fan-favorite babyface and his subsequent fall from grace intersects neatly with Daniel Garcia rise from tough midcard heel to beloved, dancing face.

The Acclaimed also have plenty of history: we've been along for the entire ride, witnessing it. Their rise from an obscure Dark tag team to one of the most popular and well-known acts. They fought their battles together, even when the going got tough. Suspensions and ill-times injuries couldn't break them up. They had fire in their eyes and a clear-set goal to be Tag Team champions, and they achieved far beyond our wildest dreams.

So, what's my problem? This feud practically writes itself, right? The breakup of a beloved tag team is a classic trope. Max and Anthony have always portrayed themselves as a Heel-and-Babyface duo who balance each other out, so their roles for this story seem well defined.

....But is that really the best way to go about it?

Enter the third element: character work. Specifically, I want to talk about tensions.

If Max is a clear-cut heel and Anthony is an obvious face, it makes sense- but it's also boring. In other good feuds, even if there is clearly a "good guy" to root for, nothing is ever black and white. Think of MJF's inner vulnerability, and Punk's underlying cruelty towards him. Mariah May's love for Toni that she tries so hard to deny. Daniel Garcia's inherent violent nature that he has to fight against to literally not kill Jack Perry. Swerve is dangerous, and he broke into Hangman's house, but then Hangman burned his childhood home down.

Do not boo me- do NOT boo me for being right, when I say that out of the two, Max Caster has been doing much better character work. It's in his music, his indie work, and (more recently) his work on AEW.

He's especially good at creating tension by showing the warring dichotomy within himself. He has a huge ego, but only to cope with his poor self esteem. He's a sleazeball player who wants love and is afraid of ending up all alone. He never shuts the fuck up, but who is he if he's silent? Sure, he's embarrassing himself in the ring- but is he more delusional than any other wrestler that refuses to give up in the face of hardship? Stubbornly sticking to an idea arguably led to The Acclaimed winning championships. Hell, he refused to stop scissoring his partner, and look what that led to!

Max Caster is an AEW locker room veteran who clearly loves to big league and bully his lessers. He's super awkward and doesn't seem to have many friends. He thinks he's better than everyone else. He's his own worst enemy and harshest critic. He's rich, and pretty, and powerful, and successful. He's the loneliest and saddest guy in the world.

He's a multidimensional, fleshed-out character.

Anthony Bowens is....a good guy? I struggle to figure out anything about him besides for the fact that he's a Great Athlete and Nice Guy who is good at a lot of other things like modelling and baseball. He does and says all the right things. He speaks at colleges and attends charity events. He lives in a cute West Hollywood apartment with a cute husband. He's openly gay and proud of it, but isn't in your face about it like those other more annoying gays! He's not The Gay Wrestler, he's just a wrestler...who is gay....and nice...and talented.

Do you see my problem, here? Anthony Bowens does not bring any tension to the narrative.

He's flatter than Charlotte Flair's pancake ass. He's so focused on being picture perfect that he fails to provide any substance for me to sink my teeth into.

But the thing is, he easily could! He checks all the right boxes and says all the right things- but isn't that just the slightest bit calculating and manipulative? If the image he broadcasts to the world is so perfect, then doesn't that imply that it might be fake? He wants to keep doing the Scissor Me Daddy shtick despite it getting stale, why? The money? The merch sales? Would a good guy with nothing but good intentions cynically do a segment with the Costco Guys and fucking Jericho?

No hate, I'm not trying to smear Bowens' name here! We're in the middle of the feud, so maybe he'll surprise me. I think that Caster's appeal in part comes down to how willing he is to be vulnerable and messy. It might benefit Bowens to do a little of the same.

[theconstitutionisgayculture]

I first caught wind of this piece on Monday, and I'm still in awe of that last paragraph. Actual real-life human beings are trying to give Jimmy Carter more credit for the fall of the Soviet Union than President Ronald Wilson Reagan. What do you even do with that? Do you bother to offer a critique or just laugh hysterically?  I suppose my job is to do the former so it should be noted that Carter was most responsible for the rise of the Mullahs in Iran, having completely undercut the Shah. He also spent his presidency establishing a Palestinian status quo that has led to numerous wars and countless deaths. To suggest he "brought more positive change to the Middle East than any president in the decades before or since" is one of the most insane things I've ever seen a news outlet write. Further, his coddling of Islamist dictators while continually knee-capping Israel (many suggest he was outright antisemitic) laid the groundwork for the chaos in the region that persists to this day. As to the Soviet Union, it was ascendant when Carter left office, running roughshod in multiple parts of the world. The SALT II treaty was also signed under Carter, which served as nothing more than unilateral disarmament by the United States while the Soviets didn't comply. It took Reagan's peace-through-strength strategy to bring the Soviets to their knees because, if anything, Carter was helping preserve the Soviet Union's power with his naive half-measures and deal-making.  Keep in mind that we are only talking about Carter's foreign policy record at this point. His domestic record was arguably worse, though I won't dive into that here.  With that out of the way, let's get to Scott Jennings, who was faced with pro-Jimmy Carter talking points multiple times on CNN following the former president's passing. Instead of shying away from controversy, which would have been easy to do given the circumstances, he struck hard and set the record straight. 

JENNINGS: In the run-up to the Persian Gulf War, he wrote letters to all of our allies and to Arab states, asking them to abandon their cooperation and coalition with the United States of America. If it's not treasonous, it's borderline treasonous, and so I hear what you're saying about the humanitarianism, but when you're an ex-president, and you have served in that office, I think you have a duty to the United States and only to the United States, and when he did that and other instances, to me, it showed that he cared more about his own legacy than he did about the country, and I think that is wrong.

Jimmy Carter was a terrible president and not that great of a person either. Don't let the evil media rewrite history because you want to be respectful and not speak ill of the recently dead.

[stillness-in-green]

Hi, are you still working on the AFO Retcon Essay? You mentioned a few times you are not sure if Horikoshi retconned AFO's original plan or if he always intended for AFO to take over Tomura, but made AFO act somewhat contradictory from the start regardless. Did this ever make you feel like there are too many possibilities in regards to Horikoshi's original intentions to take into account and could therefore make it harder to write the essay?

Hi there, and thanks for your interest! I did actually talk about this a good while back, towards the beginning of the year; you can find that post here. It says pretty much exactly what you did and goes a bit further--that I'm so distrustful of Horikoshi as a writer that I have no idea anymore what might have been retconned and what was his intention from the start, and further, that even if something was his intention from the start, I don't trust him to have laid the groundwork for those intentions with honesty or good faith.

Instead of the AFO Retcon Essay, what I've been poking at instead is some sort of massive retrospective of all the problems with BNHA's endgame. That's going to require a reread on my part, and some decisions about formatting--namely, do I want to do the reread privately, on my end, and then write the Mega Chonky Essay and post it when I'm finished, or do I do it publically, read-along liveblog style, documenting the problems as I go?

At the moment, I'm leaning towards the second. I have some tentative ideas about keeping a running list of (to use a witticism from the Twitter fen) Themes & Such, ideas and ideology the series sets out and how well it lives up to those ideas--or how it fails to. I'd also like to keep track of things like character arcs and foreshadowing, documenting things with an eye to where those arcs go, what the foreshadowing amounts to, whether the series keeps its implicit promises, and so on. I suspect it would wind up looking something like a cross between the heteromorphobia essay and my chapter thoughts posts.

On the other hand, a format that deals with one group of problems at a time could feel more focused, discussing all the evidence at once of any particular topic rather than having to keep many (many) plates spinning across a retrospective of the entire series. I also already have the broad outline for that, since it was my plan last time I was seriously poking at the idea. It would probably still end up being posted in multiple parts; the parts would just cover different groups of characters or aspects of the series per installment, rather than e.g. each installment covering an arc and everything in it.

I suppose there's nothing stopping me from doing first the former and then the latter? I'm planning to reread the whole series anyway, after all.

In any case, I like that kind of installment-based format not least because I'm also in the early stages of getting a Patreon set up aimed at supporting my meatier chunks of fandom writing and potentially giving people some ability to point me at this or that topic. A multi-part analysis of BNHA--something in a similar style as my documentations of heteromorphobia, the problems with the anime's adaptation of My Villain Academia, or even, to reach back to an older fandom, my episode-by-episode write-ups on Human Debris in Gundam IBO!--strikes me as a good way to get that off the ground.

I've got one or two things to finish getting off my plate before then, and I'd want to wait until the last volume of BNHA officially comes out (12/4) just in case of any thirteenth-hour surprises, but keep an eye out! I'm not inclined to paywall my writing, but maybe an early access sort of model? I'm also going to want to find a blogging site that's more aimed at hosting long-form writing than Tumblr is. We'll see!

In the meantime, to give everyone an example of the kinds of things I'm looking at tracking through the story, one of the things that most vexes me about the ending is how it not only fails to resolve its contradictory ideas of saving and heroism, it feels to even recognize those contradictions. Here's a chunk of my notes on that topic from the outline of The Mega Chonky Essay in its current form.

• Nana says saving isn’t just saving someone’s life, but also making sure they’re smiling in the end. But that means that saving their life is the prerequisite. If Eri died smiling, her smiling would not prevent everyone from recognizing her death as a tragedy.         • “Perfect Victory” is defined as both “winning” and “saving” flawlessly—that is, every fight is won, and no one is left unsaved. This is introduced first as an ideal for Deku and Bakugou to strive for, with both of them needing to work on different parts of the equation, and continues to be an aspect of Bakugou’s characterization, as it comes up again in Joint Training. But it doesn’t stay locked to them, as All Might says directly to the American pilots that they can’t be allowed to die because the kids are aiming for a Perfect Victory.         • A pivotal question for Toga and the larger series is, given that Heroes are supposed to save people, how do Heroes justify killing Villains? Do they not think of Villains as people?         With all three of these ideas in place, the challenge becomes how to navigate the endgame to a place where all three concepts are honored/resolved. The ending must demonstrate that Heroes do see Villains as people while also being able to achieve their desired Perfect Victory—they must win against the Villains while also saving them, where “saving” means that the Villains’ lives are saved and they’re smiling in the end.         Or must they? After the first war, the series introduces another concept of how to save people, albeit one that runs directly counter to Nana's definition of a saved person as someone both alive and smiling: Gran Torino says that killing someone can be a way of saving them. He and Nana can’t both be right, so to confront and resolve that discrepancy, the story will have to acknowledge one of them as wrong. (Spoilers: It does not.)         In the end, Toga dies, and Deku kills Shigaraki, and if both of them die smiling, well, you sure as hell can’t say the same for e.g. Gigantomachia or All For One or Dabi or any of the thousands of unhappy Villains who wound up in prison (many of them likely bound for the gallows!), alive but decidedly not smiling. Heck, All Might, in trying to console Deku, moves the goalposts even more by suggesting that all Deku needed to do to get the credit on “saving” Shigaraki was make sure his inner child wasn’t crying anymore. Not only does he not have to live, he doesn’t even have to be smiling! An absence of obvious grief is enough!         Thus, you wind up in this place where you have an unsolvable problem: somewhere along the line, either someone failed or someone was wrong, and the story, in being unwilling to confront that disharmony, winds up undermining other established themes and goals. Did the kids “lose” because they failed to meet the criteria for the Perfect Victory? Was the definition of “saving” wrong? Was Gran Torino wrong or was Nana? Was the definition of Perfect Victory wrong? Was Toga correct in her fear that Heroes don’t see Villains as people?         No matter what the answer is, it runs afoul of some previously established Theme in the story. Even if the idea is that the ending is downbeat and bittersweet because the kids failed (and the story is using All Might’s goalpost-moving to resolve the dissonant definitions of “saving” in Gran Torino’s favor), that still means yet another theme is violated: that of BNHA being a story of how Deku+his classmates become “the greatest Heroes.” After all, the story also defined “greatest Heroes” for us! The greatest Heroes are those who can achieve Perfect Victory.

Whatever form this essay winds up taking, these are the sorts of concepts I want to discuss in terms of how the series sets them up compared to how it winds up following them through.

Thanks for the ask!

[flower-boi16]

This is a problem I've never seen any hh/hb critics bring out so...both shows lacks story arcs. There are so many definition for story arcs, but I'm going to explain what I mean by that. Story arcs for me is a certain part in the story that works like pieces focusing different journey or problem for characters in the same story. If both shows have story arcs like if season one of helluva boss focus on the imp doing their job and their beef with cherubs, season two focusing on their beef with dhorks. Season one of hazbin focusing on hotel's clients bonding, and season two how angels think of redemption. Each season can have multiple arcs going on, but given how limited episodes they got on each show, I decided to make each season focus on different arcs, but the writers have no plan how to organize different arcs resulting in many conflicts showing out of no where, and rushed payoff because they don't know what they want to focus. If the hh/hb crews know how to utilize arcs, they can put as many characters as they want as long as they can give enough episodes for their development. Imagine if every harry potter's villain showed up in the same book, that's how I feel about hh/hb.

HH and HB are just structured pretty poorly. They cram multiple seasons worth of plotlines into just 1-2 seasons and messes with the pacing REALLY bad. It all feels so...cluttered and unfocused like the shows don't know what they want to be about.

HB is ESPECIALLY bad at this as I've talked about before. The show completely forgot it's main premise and turned into a soap opera about Stolitz. It has no idea what it even wants to be anymore and it comes to a simple lack of structure.

Season 1 laid the groundwork for a lot of the show's issue and Season 2 would go ahead and make those issues significantly worse.

There's just two many conflicts and recurring plotlines for a show that currently has only 1 completed season, with the second still ongoing. It makes it into kind of a mess. Hazbin is at least better structurally but it still faces a lot of the same issues that HB does when it comes to how it's paced; the first four episodes feel like the first season and the second half feels like the second season because it feels like there's this giant gap in between halves where major things happened, but...we just never saw it.

And for HB, conflicts like the Dhorks plot line and Stolas' family drama are conflicts that are already enough to be the main story's of whole seasons, yet the show crams them into one season and it again, gets unfocused as hell. The seasons of both shows just choose to focus on multiple things at once rather than just having one, maybe two major plot lines per season, one show sets up six plotlines into just it's first season and the other rushes to the stuff that feels like it should be saved for season 2.

I just want to emphasize how unusual it is for a show to have this much stuff in just 1-2 seasons. Most TV shows tend to have one or two main recurring plot lines per season, with some smaller plot lines here and there that are typically plot lines for a specific character relating to their arc. HB in just it's first season set up six major plot lines within its story. Let me repeat that. SIX.

There's just. Too much shit going on in these shows. Plain and simple.

[bloodofsancho]

Theories & Speculations about Canto 7: Lightning Round

So, I've had a much longer, more essay formatted post sitting in my drafts on here for a while, and even longer on my main blog where I imported it from. But seeing as Canto 7 is just on the horizon and my real life obligations haven't gotten any lighter, I've decided that instead of writing a Big Long Theory Post about Canto 7, I would instead summarize my main thoughts/beliefs/speculations into bullet points on a single post. This still ended up being really long though. Anyway, without further ado:

Project Moon's interpretation of Don Quixote seems inspired in part by the musical Man of La Mancha. While I've seen many consider it an adaptation of Don Quixote, it's...not really. It's loosely based off of it. In the musical, it follows Miguel de Cervantes and his unnamed servant who have been imprisoned by the Spanish Inquisition and put on a play for the prisoners where Cervantes plays Don Quixote and his servant plays Sancho Panza. A female prisoner/prostitute named is chosen to play Dulcinea. She is a principal character in the play.

In the book, Dulcinea is little more than a figment of Quixote's imagination. Aldonza is only mentioned in one sentence at the end of the first chapter. She's also a slaughterhouse worker and not a prostitute.

I have absolutely no idea which interpretation Project Moon will go with. But I find it interesting that Don Quixote hasn't mentioned Dulcinea at all, while in the book she probably comes up every other sentence.

Dulcinea = Carmen?

I think the likely villain candidatesfor this Canto are either Sanson Carrasco or "Avellaneda".

Sanson Carrasco, also known as the "Knight of Mirrors" or "Knight of the White Moon" is a guy from Don Quixote's town who along with the barber and priest (make note of that btw) takes it upon himself to cure Don Quixote of his presumed madness. He's kind of a smartass. He decides the best way to cure Don Quixote of his mental illness is to defeat him as the Knight of Mirrors but ends up getting beaten by Don Quixote, and he's not happy about this and swears revenge. Later he appears as the Knight of the White Moon, and defeats Don Quixote in a duel.

In Man of La Mancha, a prisoner known as "the Duke" is chosen to play Sanson Carrasco in the play, who pretty much does the same thing as he does in the book except he's much more cynical in the play.

The other candidate, Avellaneda, would be a very interesting and very Project Moon choice for an antagonist. Alonso Fernandez de Avellaneda was the pseudonym used by an author who wrote a fake sequel to the first part of Don Quixote, which Miguel de Cervantes didn't intend on writing an official sequel to until he saw Avellaneda's work and he hated it so much it spurred him into writing an actual sequel. The existence of the fake sequel is mocked and referenced in the second part of Don Quixote, and considering the events of Canto 6 I think that's worth keeping in mind.

Now onto actual speculation and called shots for Canto 7 since I've laid this groundwork:

I think that the plot of Canto 7, at least initially, may draw heavy inspiration from Man of La Mancha. I think the Bloodfiends from La Mancha Land are possibly taking humans captive through some kind of method (attracting them to the fair maybe?) and torturing them as entertainment. Through some kind of means, the Bloodfiends have also gotten a Golden Bough, but I'm unsure how or why they would use it. Maybe someone can provide some ideas.

Humans going missing and ending up at some kind of vampire torture fair is exactly the kind of case Moses would take on. It remains to be seen if she will be there in person, or if she'll communicate with Dante through a walkie talkie or radio. At the end of the teaser, she sounded like she was talking through a radio (assuming that was in fact Moses).

Sancho is either a Fixer who Don Quixote became friends with in between establishing her human form and joining Limbus Company, or he (assuming that the blue text from the teaser is Sancho) is a Bloodfiend. Maybe both? His text from the teaser seems to be encouraging Don Quixote's delusions.

I initially thought that the Bloodfiend from the teaser could be Dulcinea (or Marcela or Dorotea)* but a user pointed out to me that she's holding large scissors so she's probably the Barber. However, this morning I looked back at the MOTWE story cutscenes with Cassetti and he refers to the Barber with he/him pronouns. I don't know if this means anything, or if it's an oversight or retcon from Project Moon.

I think there's a strong possibility that, following the Man of La Mancha line of thought, Don Quixote's true Bloodfiend identity is Miguel de Cervantes. A lot of people seem to agree with this. However, I haven't seen anyone really make any shots as to why she would seal herself away, and I think I have a plausible answer:

Being a member of the elder generation of Bloodfiends from before the White Nights and Dark Days, Cervantes is primarily nonviolent and doesn't want much to do with humans. After the White Nights and Dark Days spawned a new generation of Bloodfiends who were significantly more prone to violence, violent attacks on humans increased and this alerted even more people to the existence of Bloodfiends---especially people who would like to hunt and kill them. This put the lives of Cervantes' Kindred at grave risk, and not wanting to fight or kill humans, she sealed herself away and invented a human persona---and possibly her Kindred as well, hence how Sancho could also both be a Fixer and a Bloodfiend.

She might have invented Don Quixote with the express purpose of creating a human self who had a strong sense of justice and right the wrongs of the City. Maybe she became a Bloodfiend to start with in order to escape the injustice of the City.

This would line up extremely well thematically with both the novel and Man of La Mancha. Sancho supporting Don Quixote's dreams (or her human persona in general) could support this idea if we assume he is a Bloodfiend.

Meanwhile, the Bloodfiends are more concerned with getting their Second Kindred back once they realize who she is. This would align well with the Barber and Sanson, assuming that Sanson is a Bloodfiend and not a Bloodfiend hunter.

I realize that this is kind of a slapdash post, but I was really running out of time and on top of being both sick today and having two papers due on Sunday, I needed to get this out before Canto 7. I realize that this doesn't touch on many aspects, like the associations with Carmilla, other characters like Dorotea, Marcela, Cardenio, the priest, etc but I decided for the sake of time that I would talk about them if/when they appear in Canto 7. Regardless, I would like to hear everyone's thoughts if they have any!

[autisticrosewilson]

Todd Family Tree pt. 1

I know you guys have been waiting with baited breath for this (Read: no one but me and a handful of select mutuals care), but fret not because it's finally here.

Let's start with the side of Jason's family we know the most about, Willis's. A lot of things I'll have to say about Willis himself will be things I've said before with maybe some new additions, but a lot of the focus will be on his relationships with his family anyway so hopefully it won't get too repetitive.

Someone on my last Todd Family post commented that the Ma Gunn aspect may have been retconned, however I already integrated it into my personal canon so let's just keep going shall we?

Also shout-out to @perseus-jackass who let me ramble to them about all of this and helped me iron out some of the finer details!

The Todd/Gunn Family; Canon:

- Willis reportedly named Jason after his father, Jason Todd Sr.

- Faye Gunn II is the niece of Willis which implies Willis has at least one sibling that is never mentioned, although Faye was either raised by or very close to Ma

- Faye was named after Ma implying that whichever sibling she was raised by was close to Ma

- Assuming Gunn is her maiden name, or perhaps an alias, she didn't keep her husband's last name and Jason Sr. Is never mentioned, which could mean that they split or that he's dead

- Obviously from a meta textual stand point the reason Ma Gunn was never mentioned as Jason's grandmother is because it was a later retcon, but in universe this and Willis's choice to keep his father's last name implies he wasn't fond of his mother/was closer to his father

Sub note: The candidates for Jason's mother included Lady Shiva (I'll get into my thoughts on her in Part 3) and an Israeli woman. Edit: @ammomancer informed me that Jason was Spanish (Basque specifically) in the Bombshells continuity as well!

- Ma was implied to be from Australia, and likely taught there for a time.

- Ma implied that she had sons, and possibly that they're dead. (I have obviously disregarded this, but I'm not against the interpretation that one or both of the girls are trans.)

So my version of Jason is black/Asian/Latino! I think he's Japanese/Indian from his mom and black/Latino from Willis so keep that in mind.

Fleshing Them Out; My Expansion:

I'll start with Ma Gunn, since we see the most of her in the comics and she has the most groundwork laid for her already. Mostly I'd like to make her a little more complex.

She's proven to be a ruthlessly pragmatic character, but I don't see her being someone who does what she does for fun. She's someone who values control, someone who doesn't take perceived slights lightly. I imagine growing up a woman on Gotham's streets with so many relations to organized crime builds grit, spawns bitterness and hate. She seems like the type to value tradition - in the Gotham crime family way- this is how she was raised and the way she raised her own children. There is no changing the world they live in, only surviving it. I think she really wanted to teach her kids, both the ones she birthed and the ones she fosters, how to survive.

That's not to say she really cares though, I don't think she's close enough to anyone to really care, even if maybe in the early days of motherhood she wanted to be. She's a stone cold bitch and she's proud of it, she made her kids strong and look at the reputation it's given her. Ma Gunn's school for wayward boys isn't just for strays anymore, there are some big names dropping their brats off for training these days. Crime lord daycare. Truly, only in Gotham.

Jason Todd Sr. Is a non-character. We know basically nothing but his name and that his marriage failed, and he's probably very dead. Which may or may not be related to said failed marriage.

Do I think Ma hired a hit on her husband? I wouldn't put it past her. I think she'd get rid of anyone if they were dragging her or the family down.

We can assume he was close to Willis, and I like to think that Mr. Todd was the homemaker because I can't really imagine Ma staying home to tend the kids. It's more likely her version of family bonding was a bank heist. Willis may have very well learned to drive from high speed car chases.

I think it would be very funny if Mr. Todd is from some third or fourth rate crime family that's using a mechanic shop as a front but Mr. Todd was actually really interested in it so he got an engineering degree and had little to nothing to do with the actual crime side of things. Maybe his family married him off to make him someone else's problem and while the Gunn's aren't a notable crime family they have a lot of resources and a lot of contacts, not to mention the small army of feral children.

Ma thought she was getting a seasoned criminal to help fund her illicit activities but instead he's a stay at home dad who has turned their home into a board game because he insists on fixing it all himself (if you use the microwave the doorbell might ring and you need a screw driver to use the shower ect.)

A lot of the experiences I associate Jason having with Willis I imagine Willis had with Mr. Todd, doing homework together, working on cars in the garage, Willis definitely learned how to cook from Mr. Todd because I just don't think Ma can do better than hamburger helper and public school lunch.

For the sibling situation, and I have no real evidence canon has completely left the building with this one, but I think he has sisters. Middle child Willis and also boy who grew up with all sisters Willis is real to me for reasons I couldn't say.

Completely made both of them up, but this is my house I can do what I want.

I'll start with the oldest sister, who I've decided to call Celia. I think she's the closest to her mother, the one who took over after her. Probably a serious, studious kind of person, she grew up with more opportunities than Ma did so she probably had more schooling. I can definitely see Celia as someone who worked her ass off to bring home good grades to make her mom proud and always falling short because Ma didn't really value traditional education.

Her and Willis definitely clashed growing up, Willis never liked Ma but Celia idolized her. Where Ma's crude demeanor and distance drove Willis to acts of rebellion it made Celia even more desperate to please.

Although I'm sure Willis would deny it, I think it's still a sore spot to him that Celia's way kind of worked. Once she got old enough to really learn about the business Celia was great at it, Ma started coming around to the benefits of having someone better with the numbers and paperwork.

I think that even after Willis leaves he genuinely tries to keep in touch with everyone, I don't think he ever stops trying to reach out to Celia. I don't think he agrees with who she became even if he saw it coming, regardless of how much he doesn't like their mother (he'd never say he hates her) Celia is still the girl who put bandaids on his scraped knees and let him crawl into her bed when he had nightmares and he can't bring himself to cut contact with her.

Celia is nicer than Ma, more adept at caring for the kids and because of this she earns their trust more which ultimately makes them more loyal to the Gunn's. This is a purposeful tactic because although she does see the kids as her own she doesn't see anything wrong with manipulating them for her gain. They're family, and family always want to help each other.

Jason was not allowed to visit his auntie, and didn't even know his grandmother was still alive.

I don't think she'd have a husband or boyfriend, a romantic relationship would take too much attention away from her business and if there's one thing she learned from her mother it's that a man would only drag her down or try to control her.

Willis is, to the surprise of no one, is who I have the most to say about but I'll try to keep it brief. For all he gets a bad rep I think he's a family man at heart, I'm positive he always planned on kids even if he wasn't sure about settling down with anyone at first.

Mostly because his mom kept trying to arrange marriages which is how he ended up dating Sheila for a time...which obviously didn't work out. One could say he wasn't keen on a repeat performance after that fell apart.

Man whore I fear, Gotham's fourth most bisexual man. Where's that one post about the goon who causes a distraction for his boss by making out with the bank teller and his wife. That's literally him Willis Todd ghost wrote that post. I'll get more into his various relationships in Part 3.

This man was born to tell dad jokes and wear funky ties but he's forced to live a life of violence and crime. Because of poverty and generational trauma.

I think the most tragic part of Willis Todd is that he tried. He loved his wife and he loved Jason and he gave everything he had to providing for them so Jason wouldn't have to grow up like he did but it ended the same anyway. And he'd never be disappointed in Jason, although Jason thinks he would, because home knows his son and he knows Jason wouldn't do it unless he really thought he was helping people.

I know everyone holds the opinion that Catherine was the most serious about Jason's school but I argue it's Willis, Cathy taught Jason to love learning but Willis taught him the importance of it. I think Willis always got good grades but he never went to college because part of ditching his family was ditching their money and most of what he made went towards supporting himself.

I've named the youngest sister Joan, and I think it's important to define her relationships more than her personality for reasons I'll get into in a bit.

For continuity's and sake I'll say she was a pre-teen when Willis moved out at 18-19, which would give her a large gap between both Willis and Celia - who I imagine are maybe two or three years apart - age wise. So while Willis likely tried to take care of her, to influence her away from their mom and sister, I don't think he was super fond of being at home to begin with so I don't think he was around much and I think Mr. Todd died not long after she was born so she didn't really have the gentle hand that Wills did growing up.

This left her with little to rely on but Ma and Celia, it was a real rock and hard place. Ma is honest in her ruthlessness at least, but Celia uses her love as a tool for manipulation. I'm sure she grew up right beside the other kids at Ma's school.

So I think it's no wonder that when she found herself with a baby she had no clue how to take care of, it was very easy for her mom and sister to convince her to give the baby over. Easy for Joan to decide that her daughter was in better hands with Celia as her mother.

And then Joan...vanished. No note, no phone call, no body. Most suspect it was Ma who did it, even though the woman had her kids - former and present - rip the city apart looking for her. No one knows the full story, and no one knows Joan Gunn's whereabouts.

Well, no one except Willis Todd, not that anyone else knows that.

Faye Gunn II has a lot of potential. I think there's a chance for her to parallel Jason. They both grew up on the streets and both have affiliations with organized crime, but where Faye is comfortable perpetuating the cycle of violence expected of the Gunn women Jason spends every night busting his ass to make sure another kid never has to go through what he did.

I also think it would be fun if maybe Faye wasn't entirely human, y'know give her a little bit of meta gene as a treat. Beast Boy isn't using the name Changeling anymore and I've long subscribed to Gotham operating by faerie rules so maybe she can borrow it for a few issues.

I don't have many thoughts on her as is but I'd like to do more with her in the future!

This got really long and I'm certain it will only get longer with the next additions. The next part will focus on the Clemens/Johnson family! Catherine Todd lovers stay tuned for part 2. Remember that all of this is just how I view them based on the cookie crumbs we get about them in canon.

[txttletale]

So I'm a leftist because I can plainly see that capitalism sucks, but I have a really hard time pinning down what I think we should replace it with because I have "agrees with the last theory I read" disease. (Or, more embarrassingly, "agrees with the last Post I read.")

Something I've been wondering about recently is what's the point of planning and arguing over what happens after the revolution anyway? The chances of a successful worker's revolution in my lifetime, let alone the next few decades, feels vanishingly small. The preconditions just feel so far away.

Is there really value in committing to a specific ideology right now, or is it sufficient to say the anarchist future and the ML future (and even, like, the DemSoc future) sound better than what we have now, and require many of the same preconditions, so let's work towards those shared goals now and figure out what comes after in a few decades when the groundwork is actually laid?

i agree with you that i don't think a genuine revolutionary situation will arise (at least, not in the imperial core) within our lifetimes. i also agree that there is a meaningful degree to which the theoretical differences between marxist-leninists & anarchists are far enough from being present and pressing concerns that they should in almost all cases be working together and employing similar tactics and action.

however, i do think there is a value to having an ideological framework: it keeps you consistent. if your ideology is vague and empty, you're liable to (intentional or unintentional) opportunism--you will fill in the gaps or approach new ideas with the default positions, the ones that require the least divergence from hegemonic cultural norms and values.

that sounds a bit ideological-jargony so i'll phrase it another way: if you grow up in a [joker voice] society, you're going to grow up with a lot of assumptions! like, 'cops reduce crime', for example. and if you don't have an underlying theory of capitalist society and how it functions, then it's entirely possible to realize (through experience or analysis) that capitalism is bad and that our society is inherently unjust, but continue thinking 'cops reduce crime' because that's just the default cultural position you grew up with. these two things are pretty impossible to reconcile, right--because of course the actual purpose of cops is to enforce private property rights and maintain the capitalist system of economic relations--but if you don't have a full theoretical framework of capitalism & society that you can use to analyse things, that incoherence is very easy to let slip by!

i also want to say that while i think that anarchists & marxist-leninists (and all other revolutionary) communists share common goals and functionally very similar political projects for our forseeable lifetime, there is a meaningful difference between these two and the 'demsocs' you mentioned. not an uncrossable gulf by any means in terms of working together and forging political alliances--but the steps one takes to agitate and organize the working class in anticipation of a future revolutionary situation, however distant, are imo very functionally different to the steps one takes to advocate for social reform within liberal legislatures. rosa luxemburg put it well when she said there is nothing reformist about supporting trade unions, welfare legislation, as a vehicle for revolutionary class struggle--but when you take these things as ends themselves, i.e., as viable methods for resolving the contradictions of capitalism, you become unable to use them as such a vehicle.

but, yeah. tldr; i think it is far from the most important thing (the most important thing is to be a principled anti-capitalist & anti-imperialist--these are the two litmus tests for whom i can consider a political ally), but it is useful to have an underlying political framework rather than a collection of individual positions, because the latter can lead to contradictory and self-defeating worldviews and political programs

[that-left-turn]

It seems to me like norman was vocally pro caryl around season 2/3 and then became vocally anti caryl after Melissa won her Saturn awards for seasons 4 and 5 and became a main cast member.. and then became vocally pro caryl again after she got paired with ezekiel.. and then he's anti caryl after they break up and has been ever since - even more so now that he's got "his own show".

Do we have any good idea of who was behind the leah story and the connie shipbait? Even though they used both to give caryl parallels, those seem like the main obstructions in season 10 for driving caryl forward. I wasn't actively shipping them then, but I felt the show was starting to push caryl towards canon, but then when leah popped up, I was like 'oh... ok??? I guess I was wrong then, stupid me'. As for connie, I thought it was to show "it's not like that", but it was never made fully clear. I wonder what the motivations were really behind introducing those two characters as ships for daryl.

BASICS

Each character arc and the emotional arcs which involve one or more characters are laid out in pre-production, so the season is fully plotted before any scripts are written. There are zero surprises in screenwriting: each episode has a treatment, which details every scene and that's the basis used for writing the screenplay. The individual episode writers have no freedom to deviate from the plot, so it's very different from writing a novel or fanfic.

LEAH

The Leah arc was supposed to further Caryl's emotional arc, but a lot of plotlines were dropped or shortchanged in S11 because of things going on BTS. S9-10 were very deliberate and intricately plotted with a myriad of little beats throughout the seasons which were supposed to lead to a bigger picture reveal in S11, like how Daryl's facial scar factored into Caryl's relationship. If the showrunner is a good plotter, the groundwork for seasons to come is laid early, giving the audience plenty of puzzle pieces.

Unfortunately, Leah's arc was both stunted and misappropriated into a Maggie revenge plot which had zero payoff because viewers had no emotional investment in her entourage of redshirts. We don't know exactly how the Leah arc would've played out if the original vision had been followed, but it's clear from the pieces we do have that it would've led to Caryl canon so no, you weren't wrong or stupid. Leah was intended to be a foil for Carol and a catalyst for Caryl. I'm unsure of how sound this particular plot twist was, considering how easily something like that can get ruined when dealing with recalcitrant execs, but Kang is a detail-oriented writer, so as a viewer, I was willing to make a leap of faith with her.

SHIPBAIT

As for Connie, my guesstimate based on productions I've worked on, is that the network wanted to tease the possibility of 'something' to draw a larger share and to drag out the will-they-won't-they for Caryl (which doesn't work in today's TV). Sometimes, showrunners get notes where they have to make the best out of a situation they disagree with and Connie was never intended to be anything other than shipbait. The showrunner did her best to incorporate the studio notes into a storyline which would service the emotional arc she was actually trying to tell: Caryl thinking they aren't good enough or deserving of each other.

A good writer doesn't want to manipulate the audience. It's dishonest storytelling and it's not how you sustain and grow your viewership. You have to give clues along the way that will reward observant fans, even though the narrator might be unreliable. It's about building momentum and anticipation. If you do, a lot of the marketing will be self-driving at that point because of fan engagement.

If the Leah storyline hadn't gotten diverted, the use of Connie as a plot device in Carol's emotional arc would have been made clear. We never got any resolution to her self-loathing or the conflict between her and Daryl, and that's why there are still so many question marks surrounding the connection these two characters had to Daryl.

AUDIENCE RECEPTION

AMC has always wanted to sell the show to absolutely everyone and as long as there's a large ensemble cast, that might work to some degree, but it's not a long-term plan for sustained viewership and when the show is skimmed down to a handful of characters with the focus on two leads, it's no longer viable. The core emotional drive has to be the relationship between those two characters, no matter the nature of said relationship or whatever the external plot might be.

TBOC did everything to diminish and downplay Caryl's ties to each other and that was the biggest failing of the show. The hokey cult with its underdeveloped messianic plot and the fudged pseudoscience of the super walkers would've been forgiven and forgotten if Zabel had nailed the central message the season started out with, 'to find home is to find each other.' You don't need to be an amazing writer to write a show that people will enjoy, but you do have to respect your audience for them to stick with you in the long run.

[wolfreader]

april 2025 wrap-up - adult fiction

this month i read eight (8) adult books.

the scarlet pimpernel by baroness orczy 📖 🌟🌟🌟

one of the more fun classics i've read! obviously poorly aged in many ways lmao, like most if not all literary classics, but definitely one of the ones i've read more suited ot a modern audience.

i loved the genuinely sweet and tender relationship between sir percy and marguerite. this is one of the few classics that i want to see modern writers try their hand at retelling or adapting into other literary genres (such as fantasy or scifi), because i feel that the genuinely compelling romance and the action-heavy plot that laid the groundwork for modern superhero media would lend itself well to a reworking by a modern writer.

immortal by sue lynn tan 📖 🌟🌟🌟

i'm disappointed that i didn't like this one as much as i wanted to. i've always loved sue lynn tan's prose and i still do - the prose is one thing that is still great about immortal. but i guess i was just expecting more.

immortal felt very unoriginal. not only in the clear inspiration from beauty and the beast (specifically the disney film, but also just in general) in the first quarter or so, but also just... it lowkey felt like a bunch of elements from daughter of the moon goddess and heart of the sun warrior were thrown into a blender and served up with a few new garnishes. so as someone familiar with sue lynn tan's work, immortal felt very derivative. and given that i love her prose, i was really hoping for something more original from her first work after her debut series.

immortal also seemed like it was trying to have its cake and eat it too. first, in terms of the romance, tan didn't seem (to me) to be able to strike the balance of liyen being independant and self-sufficient while also having the fairy tale appeal of zhangwei sweeping in to save her. that balance is possible: you can have a strong, capable female protagonist who can still rely on her male love interest from time to time, but i don't think sue lynn tan pulled it off in this instance.

and beyond that, the entire conflict between the golden desert immortals and the wuxin felt very much like sue lynn tan was torn between writing a complex and nuanced conflict but also being unable to bear the golden desert (home to our love interest) having done anything wrong. i won't get into it any more than that, but each new reveal about the war felt very contrived.

tan's next work is a young adult cinderella retelling, and while i'm definitely still interested in reading it, i fear that i might pick her work up at the library from now on.

the lies of locke lamora by scott lynch 📖 🌟🌟🌟🌟

i thought i was going to hate this, but it turns out i just started reading it during a reading slump lmao. so, having set it to the side only a chapter in and picked it up after my slump was over, i really enjoyed it!

locke was a far more likeable protagonist than i thought he was going to be, though it definitely took some time to warm up to him. to any interested in reading this book, i'd like to put out there that unfortunately i don't think the (incredibly long) prologue is the strongest and recommend you stick out until the end of chapter one at least.

interesting world, interesting characters, et cetera. while it's not high on my priority list, i'm definitely going to be continuing the series at some point.

the murderbot diaries volume 3 by martha wells 📖 🌟🌟🌟🌟

finally caught up with murderbot! 🥳

fugitive telemetry was a nice little murder mystery that felt like a breather after network effect, especially given that it was relatively self-containted even in within a series of nominally self-contained novellas.

system collapse was obviously the big one, i actually wonder if it could have been made just a little longer and been released as a novel like network effect, especially because it follows the direct aftermath of that novel. but i really enjoyed it! obviously what i've loved about this series (and what the main "story" of the series is lmao) is murderbot's emotional development throughout the books. and therefore seeing it finally acknowledge its emotions and specifically its trauma in a way approaching healthy and constructive was a joy to see. especially seeing murderbot commit to (eventually) seeking help for recovering from its lifetime of trauma! my blorbo <3

an education in malice by s.t. gibson 📖 🌟🌟🌟🌟

after reading all of s.t. gibson's currently released novels, i have to conclude that the only reason i disliked a dowry of blood so much is because i'm just too precious about dracula. because i really loved this!

i loved laura and carmilla's dynamic and its evolution throughout the book. it was very compelling, and the somewhat speedy development of their relationship felt very natural given the tight knit nature of this kind of women's college to begin with and the circumstances the two of them specifically are put through.

the only two things (really one and a half things) keeping this from a five star are: (1) the book felt like it ended a little too quickly. even before the book actually came to a close, i was looking at how many pages / chapters were left and was wondering how everything would be wrapped up in that amount of time. i feel that an education in malice could have benefited from being even just three or four chapters longer. and (2) i don't need this to be a morality play or something, but the ending felt a little too kind to professor de lafontaine. especially given the way laura and particularly carmilla's feelings toward de lafontaine had been changing throughout the book, the level of forgiveness when they parted felt a little out of left field. i get that carmilla and de lafontaine's relationship was incredibly complex and the level of worship carmilla had for her will take years to fully deconstruct, but shortly before the climax of the book carmilla was begging laura to not leave her alone with the professor; i think just the smallest alteration to her attitude toward her at the end of the book would have made it feel a lot more natural.

cursebound by saara el-arifi 📚 🌟🌟🌟🌟

i don't think it was as strong as the first book but still a really fun installment that left me excited for the next book! there was a twist revealed in the very last chapter that i hadn't guessed completely but i had gotten close; at the very least i guessed there was a connection between these two things, if not exactly what that connection was.

i think the sex scenes were a little cringe lmao. they weren't so horrifically written as to put me off the entire book but they weren't great either. and i think perhaps there are too many romances. there were already two romantic subplots in the first book and this one introduces a new point of view character with his own love interest, and it makes it feel like most of the pages are spent on romantic drama rather than the fucking war where the first one felt more balanced.

the bitter twins by jen williams 📖 🌟🌟🌟🌟

god i love this series. this was definitely the middle book in a trilogy, i didn't abosolutely love it as much as i loved the first book, but i still really loved it and i'm probably going to pick up the poison song and finish out the series this summer. i'm really looking forward to it.

i can't say much for risk of spoilers but there was a reveal about something about the fantasy world in this book and i thought it was really well done.

if you enjoy epic fantasy at all and you haven't read the winnowing flame trilogy thus far you should do yourself a favor and pick up the ninth rain!

beebo brinker by ann bannon 📖 🌟🌟🌟🌟

the very first lesbian pulp novel i've ever read 👍 and it holds up surprisingly well! there are definitely things that have aged poorly (such as the biphobia coming from multiple other queer characters, including beebo herself) but overall it could pass for a modern day pastiche rather than a genuine novel of the time.

i already own odd girl out and i'm looking forward to continuing this series.

[haircoveredwriter]

Episode 1X05 "Deux Amours" thoughts

(Warning: if I don't make sense in this post, I apologize. I've been trying to put this together for the past 20 mins but my brain has been fried by the episode it seems).

The fifth installment of the Daryl Dixon series is a GIANT - let me repeat this - G I A N T culminating expression of Daryl's fears/desires/drive to get home to Carol. If anyone was in doubt before they would have to be living in another dimension not to see it after "Deux Amours".

Starting with the conversations between Daryl and Azlan throughout the episode, Daryl's focus on getting home is clear. Our boy is still obsessed with finding a working radio for a specific call even in the flashbacks, but more on that later 😉. Azlan asks him about the promise he made which drives him on his journey to get back home, and Norman's acting of subtle reacting to the other man's points of (I'm paraphrasing) "sometimes a man's promise gets detoured around the realities of life" encompasses the tone of the entire show and the rest of the episode. "It's a home for the soul" If that isn't Caryl, I don't know what is.

When Laurent asks him about his friends there's an obvious pairing and splitting up of the groupings he chooses to answer with; Judith & RJ, Connie & Ezekiel, Carol. There are the kids, his friend ... and then " a woman named Carol". His pause and voice change upon saying her name warms my little shipper heart. If only Laurent hadn't jumped in so quick to continue the conversation. Look kid, the man was having a MOMENT! Read the room, sheesh. Lol.

I've haven't seen many bring this up but imo the young man at the gas depot during the flashback's was another huge planted plot point for Caryl. Daryl's whole thing has been how he needs to get home, and the kid is there "just trying to make it home to his girl". He promised he get enough gas to pick her up and take her away, the two of them together, out to California. Does that ring any bells to anyone???? NEW MEXICO IS STILL OUT THERE.

THAT radio call scene. Yes. Everything about it ... yes. I don't think I can do it justice trying to put it into words but @mcbride made a wonderful gifset of it for you to view or I know there are clips of the scene out there as well.

**Special recognition for the fact a lot of these Caryl callback scenes occurred by the river/while Daryl was in a make shift tent similar to the one at his s9 camp.**

Now we've reached the infamous Daryl/Laurent/the boat scene. I'm not going to get into a debate of whether he was wrong or right to go off on a kid like that; I'm going to deal solely with my perceived reasoning behind Daryl's actions. IMO finding the boat gone and subsequently that Laurent is the one who cut the rope was the straw that broke the camels back - so it were - for Daryl's emotions through the whole show about going home. Everything had been building up emotionally for Daryl until this point in the series; every past attempt to get home thwarted or delayed somehow, and having the person who he's supposed to be getting to The Nest where he will get what he's been after ... a way home ... blow things up in his face was too much to bear. The thought that maybe he may not actually get back to Carol overwhelming him and leading him to blow up at Laurent. I think the timing of this scene in the episode should also be taken into consideration, immediately after the radio call.

The groundwork has been laid out for Carol's reappearance in the season finale, whether that is in France or somewhere else that is still yet to be seen but all roads lead to Caryl.

[lissomelace]

Would love to hear about “Learn Me Right” and “A Wilder, Wider World” if no one has asked about them already?

(Also thank you for tagging me in the ask game but unfortunately I’m sick as a dog rn and absolutely do not have the energy to think about my own WIPs 😭 I appreciate it though!)

Thanks for the ask! I'm so sorry you're sick, I hope you feel better soon.

Both of these are in the Point of Pride universe, currently tangentially in the works. Learn Me Right is the Russingon prequel/sequel to Gilded Silks and Linens. It's considerably more adversarial to start with, which is sort of why it's coming second--I didn't really feel my skills were up to that level of almost enemies to lovers, starting out, and with the groundwork and aftermath currently laid I think it's going to be a little easier for me. Most of the draft is scattered scenes and outlines at this point, but here's a little excerpt from what might be the middle:

“Thanks,” Findekano muttered. He couldn’t manage to find his enthusiasm, even now. He poked at the dish with the offered fork. Russandol sat down next to him. Findekano could feel eyes on him as he tried to convince himself to eat. His stomach turned. “So,” Russandol said after a long pause. “What is it?” “What is what?” Findekano asked, glad for the opportunity to stall for time but worried about the question. His fears were confirmed when Russandol nodded at the plate. “What’s wrong with my cooking.” “Nothing’s wrong,” Findekano said halfheartedly. “It’s great.”

It's going to be angsty in different ways from Gilded Silks and Linens, and I'm hoping the wildly different reactions involved won't make it retread too much of the same ground.

A Wider, Wilder World is further along in the series--the fourth installment, probably--and it's the Flight of the Noldor AU. I'm not going to get into too many specifics, because this is sort of spoiler territory for some of Gilded Silks and Linens, but I will stick a pretty benign excerpt beneath the cut if you like (mild spoilers sort of for how Findarato ends up after Gilded Silks and Linens, but I've been pretty clear he gets a happy ending anyway, so...):

“It isn’t good,” Findarato said, taking off his cloak to hang up by the door. He was out of breath, Russandol noticed. He must’ve run hard all through Laurelin’s bloom to get back to Curulonde. Findekano pushed off the couch. “Let me get you something to eat.” “I’m fine,” Findarato insisted. “Later.” He gripped the back of the couch. “Things are bad in Tirion.” “Yeah, that’s new,” Tyelkormo said from where he was grinding out notches in his arrowheads from his morning practice. Normally Russandol would have told him to do it outside, but… Well. Nothing was normal these days. Findekano disappeared into the kitchen, bringing Findarato out a glass of water, at least. Findarato took it with murmured thanks. Once he had drunk deeply, he set the glass aside. “Is Feanaro still gone?” “Yes,” Russandol confirmed. “He’s with Amme and Curvo, at Mahtan’s home.” He frowned. “Do you need to speak to him?”

I'm very excited to get into writing this more eventually, but there's a lot that has to come first!

[27thfirefly]

hi. i just read the last chapter of your fic went blind last year and HOLY FUCK it is so good. i get it if you don’t want to like spoil things about your fic but i have many many questions and thoughts so im just gonna write a bunch of them.

the whole thing with like. dirk tapping into ultimate dirk and part of canon and then being shoved out? and then kind of realizing that he is a small part of something very big and wanting to be a bigger part of it, and then getting orange eyes representing a stronger connection to dirk-ness? fascinating. and is daves eyes turning red then symbolic of him becoming closer to dave-ness? and speaking of that- dante??? great character, very interesting. is he like somehow a version of dave? and what was he talking about on the swings? is he also in some sort of a loop? and what was it that dirk did at the end of chapter four? he did something with the sword, right, did he make dante decapitate him and then somehow come back to life?

and hal. and cal! holy shit, i can’t believe it but you kind of made me LIKE cal somehow? in the sense that he can be violent and outrageous and insane and vengeful when dirk can’t and its kind of cathartic.

its interesting to see where things stay the same as in canon and where they dont. like dave has chat logs with rose in 2014 and 2015? but hes only fourteen. so he’s technically both older and younger than he is at the beginning of homestuck. and dirk was like 13 in 1997, which is about when daves meteor should have dropped? but did they come with the meteors at all, in this world? dirk came with lil cal on his meteor in canon, but here he got him when he was 12. but dave still seems to be somewhat in touch with his time powers, and dirk with his heart powers, so some things carried over from the game?

god. this is all so fascinating and good. i will be probably rereading the fic and eating drywall until a new chapter comes out. you are an amazing writer.

wahhh thank you very much! for what it's worth i too have been thinking a lot about went blind last year. glances at the +50k word txt document of story notes and wip chapters. so i do love getting to talk about it even if working on it is very slow at the moment! i will put this under a readmore cos i got carried away but

there's a lot of things i don't want to spoil yet yes... but i think i've laid enough of the groundwork that these things won't feel terribly out of place within the story.

one thing i do feel comfortable in divulging is that any connections to canon are deliberately tenuous... how far can a character diverge from canon while still being understood as fitting the mold for that character? when a character is deliberately obscured, how much does fanon interpretation impact what feels in-character?

when you read fanfiction or fancomics or whatever kind of work about a specific character, your mind creates a superposition of the character as they exist in the original work and the character as they exist in the fanwork. as long as the "shape" of the character in the fanwork doesn't stick out too much from your perception of the canon "shape", you can accept that character--as written by someone else--as the same as in canon. some of the choices i have made are deliberately contradictory to the text of homestuck the webcomic. i have made these choices in order to tell the story i want to tell. even so, the basis for the characters in wbly are understood to be the same as in homestuck, creating an expectation for what these characters will act like, what their baseline is, and how you as a reader approach them. your feelings about cal changing within the context of wbly is an interesting case of this in my mind--the cal within wbly is presumably still close enough to canon that you can call it the same character, but the role of cal is changed enough that your impression of him is changed. that kind of thing is FASCINATING to me.

the reason wbly would not work as an independent work is the same as why the homestuck epilogues do not work without the pre-existing fandom of homestuck: there need to be expectations for these characters and relationships in order for me to challenge those expectations.

another thing i will divulge is that went blind last year is not the full title of the story in my mind--i won't tell the full one, but it does tie into just about every conflict in the story.

thank you again for reading my overly complicated fanfic! hopefully you'll stick around even if it'll take me a lot longer than expected to complete. if not, that's fine too.

also every time i send updates to my friend i get lamentations so you know stuffs going great

[keyaho]

Hey! It’s shy anon 🙈☺️

Just read your response to the anon about R.E.L.L.S and the romance and BF/GF faction of the story and NOT to tell you what to do cause you’re a PERFECT writer and idk how long or how deep you want to take R.E.L.L.S but that could actually be a good addition to the plot. Terry trying to figure out the romance aspect of the relationship and trying to fulfill that side of the bargain while not relinquishing his power as a dominant. The exploration of him struggling to step out of his comfort zone and well crafted world. I think it’s an interesting concept to explore. Like you could transfer your initial idea of the story just being smut with no real romance and your current conundrum into Terry trying to enter this New Romantic territory and struggling because it interferes with his DOM lifestyle and the way he usually does things cause as you said ‘Terry can’t be dominant if Nami is trying to be his girlfriend’ and I remember in one chapter when he told Nami that if they go to play parties and such he can’t be her boyfriend so you’ve already laid the groundwork for this issue between them I think. Like just make you not having it figured out yet to THEM not having it figured out . But this is just a suggestion and a thought I had. I love your work and will read whatever you write OF COURSE!!! 🫶🏾🫶🏾🫶🏾 ❤️❤️❤️

!!!! Thank you for the suggestion! I think I'm going to plan it for the full story since I get to write them separately. I'm going to wrap up R.E.LLs in two parts. I can at least say the story will come in June.

My goal these next few weeks is to wrap up some ideas and rethink things and rethink what I actually want to write. I've post so many ideas that I felt like I dropped the ball on with being consistent.

I absolutely love y'all remember what I write! It makes me excited to share because I know it's recieved