#You can hear her anger

[cas-theghostking]

I finally watched the hamilton workshop fully through and as much as I enjoyed it I'm genuinely so happy they changed some of the rhymes and rhythm. Cause yall, some of those weren't it. 😭. Like "You look... bad" bruh??? And also there's a lot more cursing in the work shop. I can see why they got rid of a lot if it because it puts more emphasis on times when they do curse. All things said, it was a fun watch.

[mayamelodyegg]

more creaks and croaks (hey!!! theres susie attempts in here !!!!)

[kaidanalenkosprmanager]

"Did I ever tell you about my Omega casino run in with the Blue Suns, Eclipse, and the Blood Pack Vorcha mafia? Five thousand credits and a bottle of whiskey?"

Ft. Staff Cmdr. Kaidan Alenko, Operations Chief Ashley Williams, Zaeed Massani, & Seven. Dominik Shepard. Phoebus. MIRA'S MORE CANON ME1.5 "Are you Phoebus?" AKA: Pt. 1 of some of what happens between ME1 and ME2 with the Vorcha mafia storyline. :) Mass Effect: Legendary Edition (2021)

[druidonity2]

Kal'dorei Varian, Anduin, and Wrathion.

[bumblingbabooshka]

A Klingon and a half Vulcan discuss childhood dreams. [Patreon | Commissions]

[thedreadvampy]

btw about Neil Gaiman I periodically agree with the 'Neil Gaiman is annoying' stuff bc I feel like both he and Amanda Palmer seem like people who I would go insane stuck in a room with bc we have very different ideas about art and suchlike. and I also do think that the career trajectory he's on lately is cynically redoing his greatest hits and pretending that was the dream all along when it clearly was not. which is at best meh.

having said which

as far as I can tell by far the most common complaint about Neil Gaiman is "Snow, Glass, Apples is problematic/gross/it's got incest and rape and frames the child as the aggressor"

which strikes me as a weird complaint to pull out of a 40 year body of work tbh when that short story is pretty clearly coming from a place of 'how far can I push this'. like you don't have to like the story. I don't really like the story. but it is. a horror story.

like and this is the thing with particularly 90s alt horror right? a lot of the interest is in transgression and sitting in the worst possible perspective and seeing what happens if you pull those strings. like I really like Clive Barker for example but there's a good chunk of his short stories that I'm like I'm not picking up what you're putting down Clive this seems Kinda Off. but that willingness to write some trite or Bad Message horror fiction that doesn't land is imo a side effect of being willing to try writing uncomfortable and unpleasant fiction at all. which is what horror is for, among other things, it's for creating discomfort as a form of catharsis or engagement.

like I am not a huge fan of the type of sex-horror that pops up in a lot of Gaiman's work and other contemporary horror writers - to me I don't find it upsetting or horny it just ends up feeling kind of edgy and tryhard - but I'm also a bit like. it does seem like a lot of people's beef with Neil Gaiman is that In The 90s He Was A Horror Writer

and this approach to Problematic Horror in Snow, Glass, Apples I find kind of microcosmic of how The Discourse often approaches art in this kind of 1:1 way. if you write a story which seems to line up with rape apologia it can only be because you agree with it. if you write a story about transphobia you're a transphobe. if you write a story that makes me genuinely uncomfortable you're attacking me.

but artwork, especially art like horror that's not necessarily trying to provoke enjoyment as its main response, is necessarily hit and miss. and if what you're shooting for is discomfort then whether it works, falls flat or goes too far incredibly depends on your audience. and making good art - as in art that makes its audience think, art that opens the audience up to discomfort and catharsis and sticks with them and changes them - requires the space to experiment and tbh the space to fuck up. like they aren't all going to be winners and they certainly aren't all going to work for you as a singular audience.

personally I don't see the appeal of Snow, Glass, Apples, less cause it's nasty and more cause it's hack. ooh an edgy monstrous version of a fairy tale where there's lots of rape and cannibalism? you're soooo original Neil. but like. that's fine. I don't really vibe with like 70% of Neil Gaiman stuff I've read but I still like Neil Gaiman because the stuff that works for me really works for me.

idk I think there's a lot of folk on this website who shouldn't interact with horror cause they clearly aren't interested in being horrified. that's not everyone who dislikes Snow, Glass, Apples, but it's a real undercurrent to a lot of the criticism and tbh this kinda vibe is shit for art. making standout art What Is Good also requires being ready to make art which stands out for the wrong reasons. sometimes they'll be the same art to different people.

[spectrum-color]

Just thinking about how much Robin Hobb had to do to force her OTP back together at the end of Fools Fate and being salty. It required:

-Burrich to be depicted as a decrepit old man when he’s like in his 50s and conveniently die, gifting Fitz with his family (!) as his last wish

-Fitz to finally realize and accept what “no limits” means with Beloved after an entire trilogy where this is a central theme and raise him from the dead because he refuses to live in a world that he isn’t part of, and then for this to not matter at all because Beloved decides actually he’s just an obstacle to Fitz’s true love Molly (?!) and leaves

-Fitz not being allowed to choose what he wants, because when he tries to choose Beloved he’s told no that’s not actually what’s good for you

-Molly not being able to choose if she would be ok with her ex bringing along his queerplatonic life partner because it’s already been decided for her that of course she wouldn’t

-Fitz getting lost in a Skill pillar for a month so he can’t have a rational discussion with Beloved about it as Prilkop the conveniently located agent of Clerres tells him all about how of course their Path is finished and staying by his Catalyst will only do harm

-Prilkop convincing Beloved that he should go back to Clerres, a place where he was physically and sexually abused before running away, because apparently it’s his job to fix them, and this actually working (!!!)

-Literally everyone in Fitz’s life, up to and including Burrich and Mollys eldest son who Fitz never speaks to on page again after this, pushing him to pursue her and telling him not to take no for an answer

-Molly and Burrich (actually Nettle) being granted Withywoods and a noble title by Patience so they no longer have to deal with the obvious issue of the class divide

-Molly magically accepting that he let her believe he was dead for 16 years and abandoned their daughter because he was upset she married someone else because her role in this book is to be his prize for completing the quest

-Neither Fitz nor Molly ever mentioning or even thinking about Burrich, his foster father and major formative influence and her husband of many years and father of her sons, except for a few passing references

So yeah, in a series where the characters generally act in believable ways even when it’s frustrating, this whole plot was just contrived as hell

[hermesmoly]

Gaia promising Hebe as a wife to Porphyrion (you know, the giant who tried to rape her mom) is not something I'd expect to read but here we are

[thechaoticfanartist]

Grim being determined to change fate in TCWGANV to the point that she refuses to accept that she can't save everyone even when she fails vs Grim not trying to change the ending in ALATL but that doesn't mean she's not going to stop saving who she can, even if it isn't everyone

[girlivealwaysbean]

so tired of being a shitty bandaid for my parents' loneliness. like have u ever considered you passed your curse to me and some days i feel so lonely it's like i can't breathe around the emptiness in my chest????

[itspileofgoodthings]

So sorry if this is bothering you but so curious as well... why do you hate Guts?

Thanks for your time ❤

you’re not bothering me!

I think the simplest way to answer this is with one of Olivia’s own lyrics from pretty isn’t pretty when she sings “none of it matters and none of it ends” because. That is kind of her whole ethos about how life works. She believes that! And so her work, to me, is profoundly cynical and self-absorbed because it can’t point to anything bigger (none of it matters) so it revolves purely around her own feelings. It won’t ever situate itself in a wider picture. And I love whining in a song tbh. I love when an artist captures those uglier emotions —the discontent, the restlessness, the irritation, the blandness and staleness of it all and the railing against it—because those are all part of the human experience. I am continually shocked—it is shoCKING—by how many negative emotions I can and do experience over and over again. But it is thankfully against the backdrop of reality. My bad moods are something that can be so unpleasant to feel and so ugly to witness—I wrestle with how ugly and small my suffering is—but there is a way in which, all discourse about the validity of any and all of my feelings accounted for, those aren’t real. Just symptoms of my suffering and sometimes my convalescence (lol, love a symptom of convalescence) but reality is still always so much realer. It’s always ready to break in a million times a day; the beauty and sturdiness of reality, the texture of existence, as Flannery O’Connor once said, is always there and with enough time (and with patience and help and love) I can get back to contact with it. Not just the state of my own mind full of bitterness and worry and pain, endlessly stewing in its own unhappiness.

I am not good at that, it takes a lot to get me there. But I guess my point is—to circle back—Olivia’s music doesn’t try and doesn’t want to. Its scope is so narrow, every song no matter how pleasing at first eventually sours (lololololol) because it’s JUST rooted in her own experience, generally her own suffering. And there’s no sharpness or cleverness in the world (she can be both sharp and clever!) that can hide that lack of range. So you hear a song once—for me, it was brutal—-and you’re like YEAH. I recognize this kind of whininess because I’ve felt it before. There is something true to it! But the more she writes the more you watch her do it over and over again (sonically, too, she loves to speak-talk and tbh they’re just sub-par remixes of brutal) the more you start to be like “oh, is that it? We’re not going anywhere with this? There’s no turn or catharsis or bridge or anything that lifts us out of this even for a second?” and it’s just —blegh.

And the thing is there doesn’t even have to be, like, some triumphant girlboss victory where she feels better. I’m not saying her songs are bad because they’re sad and depressing. It’s that they establish no outside contact with reality. They are, for all her clever little film-noir references or whatever, only ever self-referential. And that gets old so fast no matter who is talking.

[minorfamilysupremacy]

quick note: if you're turning on build due to the most recent chat leaks, do me a favor and unfollow, then learn critical thinking skills and ask yourself why you're happily playing into the hands of a known liar and abuser.

[diivineray]

I actually like that ppl find me intimidating. It weeds out the wrong sort of people. I don’t want nor do I need everyone to like me or be my friend. I’m good with a few ride or dies.

It’s crazy the amount of ppl I see who have all these ‘friends’ but no one to actually go to when they need a shoulder. I refuse to do that.

People will say I’m mean but really I only get like that if I’m provoked and if you intentionally start pressing the wrong buttons. I just have been through so much I finally got tired of being a push over and now I say exactly what needs to be said.

The longer you stay quiet the more ppl are gonna use you. Put you down and walk all over you. I refuse that shit. I don’t give a fuck if you don’t like me for it. God didn’t put me on this earth to please you.

[mocacheezy]

Having sensory issues that you haven't quite registered as proper, real and VALID issues yet can be real interesting. For example;

Me, overwhelmed and fuming with rage and anxiety: How can I fuckity fuck make this better?

*remembers that sunlight and seeing what's outside can make people feel less claustrophobic ergo lowering anxiety*

*forgets that bright lights and colors are a sensory FUCK NO when overwhelmed*

*partially opens the window shutters*

*closes the window shutters*

[mxdotpng]

twirls hair thinking about adaline rozovy and his doomed struggle to live despite really not having a choice in the matter. you will forever be remembered as the weapon of light, hated by your comrades and mourned by your friends. your memory is stained in blood. there are more men you have killed than who you have saved. the world cries for your survival. you are loved.

[iwatcheditbegin]

Maturing is realizing last kiss is low key sadder than atw.