#also like i can understand changes from the book. going from a first person novel to a show is difficult and you have to make changes.

[toddtakefive]

btw todd’s reluctance to join the dps because he doesn’t want to read (which is then accommodated for) and is scared to put himself out there (which is also worked through) being read as todd not wanting to go AT ALL, and thus neil making the proper accommodations (“todd anderson, who prefers not to read, will keep the minutes of the meetings”) and encouraging him to step out of the box that stifles him being seen as ‘forceful’ or like he can’t take no for an answer makes me insane with rage

[silvery-stars]

would it be sacrilege of me to say that i am kinda hashtag Underwhelmed by the percy jackson show

[supersoakerfullofblood]

Point of View: the Biggest Thing You're Missing!

Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.

Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.

Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.

Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.

With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?

Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."

This is a lot of info, so let's synthesize this into easy bullet points to remember.

Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?

Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.

Here's another way to look at it!

This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!

[impsandstars]

Some thoughts on Stolas's growth from the early days vs. Mastermind

I recently saw on twitter someone bring up the parallels between the interaction between Stolas and Blitz in truth seekers and their interaction during the court scene. The tone and Stolas’s demeanor is very similar but with one crucial difference. In mastermind Stolas was putting on an act, pretending to be this elitist, bigoted Goetia, and although I don’t believe Stolas has ever felt or been at the same level as Andrealphus in his distaste and seeing imps as lesser beings, the Stolas in truth seekers feels like a different person. So I wanted to go back to the beginning, now that we have this arc of the book coming to a close and see how Stolas has changed.

The Stolas we meet in season 1 episode 1 is utterly infatuated with Blitz. Blitz (from The Circus episode) was this rugged, no nonsense, pleasure seeking, suave motherfucker that swept Stolas off his feet. Who showed him, for possibly the first time in his life, what real, mutual, consensual pleasure with a man was like and he was hooked. Blitz was also someone that Stolas chose himself, and we also know now how devastatingly lonely Stolas has been.

The man, literally the morning after their first meeting after 25 years, finally finally had the nerve to be like ‘that’s the sound of a fucking divorce!’ to the wife he hates. (I cheer every time. The absolute relief and crazed laughter after he just realized what he had done)

Look at what that lizard did to the man just after one night, no wonder Stolas reached out wanting to keep Blitz in his life.

And so the natural conclusion he came to was to find a way to get the imp back, and to do so permanently, or at least for as long as possible. So was born their transaction. I personally don’t believe Stolas set this up with the understanding of the power dynamic issue. I think it’s a problem that it never crossed his mind, and I’m not saying he gets a pass, but I do understand where it came from. He had a problem: I want to have sex with Blitz more, I don't want to feel so lonely, I want to see more of the man that sparked something to life in me and so he came up with a solution that he felt made the most sense. He gets what he wants and Blitz is able to continue his work. I also have always been intrigued if the main reason Stolas didn’t immediately go get his book back when he realized it was lost was because he wanted it to be a reason to get Blitz back into his life. Which can be romantic….and a bit manipulative too (‘I’ve allowed you to use my book even though it is illegal so do me this favor.’ Oh no Stolas.). There wouldn’t be growth if he didn’t start out with things that needed to be addressed.

As stated by others many times, both of these idiots (affectionate) placed the other on a pedestal (“Where is my knight in shining armor”). Seeing what they wanted to see on a surface level and not really going any deeper. Blitz to Stolas was just this embodiment of freedom and choice, an idea (a prince come to save me), rather than Stolas looking at Blitz as a whole person. We see this in the way that he talks to Blitz in the Loo Loo Land and the Harvest Moon Festival. He pays Blitz to essentially have the chance to flirt with him all day and when Blitz says things like, “save it bitch I’m working,” and “this is work and work only…not here to satisfy your perverted bird needs,” I don’t think Stolas is actually paying attention to his tone or his words and is just like, ‘oooo blitzy is being flirty, hard to get, pushing me away but wanting me.’ Remember this guy lives and breathes soap operas and romance novels which idealize actual relationships and so is reading it how he wants it to be perceived, not how it actually is. Blitz sees this as a job he has to do and Stolas sees this as an opportunity to spend time together. In the Harvest Moon Festival Stolas’s comments of “that sexy one there” and “my darling Blitzyyyyy”, again have negative reactions from Blitz of embarrassment which Stolas seems to not really be aware of, or again reads it as him being “cute”.

It’s not great but personally I do not read it as Stolas intentionally ignoring the way Blitz is responding, I think he is just reacting to everything Blitz does with some very rose tinted glasses.

I believe over time though, after spending time with Blitz during their full moon meetings and on other occasions where they were together, I think Stolas’s feelings began to grow slowly into something real when he allowed himself to actually notice who Blitz was as a person (and realized that he liked these things about him). 

Maybe Blitz wore horse boxers and Stolas got to see them every time he took his pants off, charmed by this little detail. He would see the picture of Loona, Moxxie and Millie as his phone background, realizing that they weren’t just colleagues to him but closer. They would probably talk about random things after they finished for the night. Stolas asking him how his day was and Blitz going into a tangent about their latest client. Blitz would flirt and make corny jokes that would have Stolas rolling over in laughter. Blitz was eager to try new things in the bedroom with him and would (speculating here) clean him up after a long session, hands gentle, eyes averted.

Unfortunately he still didn’t see that the transactional relationship was an issue and was something that was preventing Blitz from seeing what was forming between them as anything different. It kept them together, kept them seeing each other, and Stolas wished to keep that for as long as he could. 

You see more distinctly a change in Stolas at Ozzie’s. He isn’t parading Blitz around, flirting shamelessly with him or making overly sexual comments; he thinks this is a real date. An encounter that people do to get to know each other better, to spend time with someone that they like. His view and feelings for Blitz have changed into something a little more real. He asks about his day, trying to make this suddenly awkward situation better, genuinely wanting to take this seriously. 

Then we get Blitz’s admission and a much needed reality check from Stolas that the consequence of setting this whole thing up without thinking of the implications it had had was coming to fruition. Blitz is setting up a boundary (‘don’t read into this more, it’s only about the book’).

And what does Stolas not do? He doesn’t agree with Blitz that yea this is just transactional, or wave it off as Blitz being ‘cute’ again, or that the only reason they’re still doing this is because he just wants Blitz to fuck him. Because at one point in time it absolutely was. But now? Stolas doesn’t see it that way anymore. (He had heart eyes when he realized Blitz was asking him on a date and put on his best outfit. The boy was falling for him).

So Stolas, seeing, finally, the impact this whole situation has had on Blitz, he goes out of his way to end it, and not only that, but end it in a way that ensures Blitz can still do his job, which Stolas knows is important to not only him but his family. Because he sees Blitz now. Sees the importance of getting Blitz’s side to all of this, because he had assumed they were both on the same page. Episode 1 Stolas I don’t think would be as quick to try to end things if he had been confronted. Again not vindictively, not because he believes Blitz should be happy he gets to fuck a Goetic prince, but because he wanted it so bad. Needed it even.

Seeing Stars and Western Energy are these somewhat weird middle grounds between Ozzie’s and Oops because Stolas goes back to shameless flirting and not really seeing Blitz’s discomfort when he was about to perform on Tv in the former. But in Western Energy his texting to Blitz in the hospital, I feel, does show some of his growth. He knows they are on rocky ground and so gives Blitz the choice to come see him or not. He wants comfort after what has happened to him. He wants to see the person who makes him feel better. 

And, we do get confirmation from Blitz at the start of Full Moon that Stolas hasn’t had them doing their transaction since the night of Ozzie’s (so for a few months?), which means Stolas is taking Blitz feelings about this seriously and having a nice long look at his own side to all of this. He is trying to show Blitz that he now means more to him than just the sex. 

In Full Moon we get a Stolas who is apologetic (although doesn’t actually say sorry :/), explaining (as best he can my poor boy) that he doesn’t want this to continue. Blitz is free now from the tether that Stolas tied around them to keep him in his life. (If you love me let me goooo). He’s being (for the most part since he is kind of doing the 'if you love me you'll say' test) selfless here, allowing Blitz the chance to make up his own mind about being with Stolas (a choice he really didn’t give him in episode 1. Like Stolas, my dude, you called Blitz to set this whole thing up in the middle of being chased and shot at and we know you know that because of the bubble. Yikes, not good there. Blitz probably would have said yes though no matter what the situation he was in because he had a family to take care of). Yes it wasn’t perfect. Stolas still made the decision himself to end it and give Blitz a crystal without prefacing it with some more context, but his intentions were good. ‘I care for you and didn’t realize that what we were doing was being understood differently by the both of us so have this choice now that I didn't give you in the beginning.’

And then we have Mastermind. This is it. The one action that many a romance is built on, ‘I would do anything, even sacrifice myself, to make sure you are safe and alive.’ There is so much complexity to mastermind and Stolas’s actions here but the main one in terms of Stolas’s growth is an understanding (maybe not an entire understanding but one more than he had before) of the class issue inherent in Hell. Episode 1 Stolas would be flabbergasted by it. Stolas plays into it in this episode, acknowledging the power it has to influence the elite lining the courtroom to save Blitz’s life. 

I feel such maturity from Stolas. Going back and watching him in Loo Loo Land is like seeing a completely different person. He is naive and juvenile in the way he talks and presents himself that is so drastically different from the ‘master of my fate’ that we get in Mastermind. 

And it’s beautiful because we’re not done yet. Stolas is a baby bird just thrust into new circumstances with a Blitz fully now on board with the idea of them. Stolas is going to experience a world he has only recently started to understand and I can’t wait for his future growth because it will bring him and Blitz together with a better understanding of each other.

[notedchampagne]

What makes a tlt au work for you? Do u have any favourites out there/that you’ve thought of?

its hard because it can go down to the writing! i have a huge bias for things that put focus on the characters acting awful and driving the story forward- if a story has a plot thats great, but its the difference between "gideon and harrow keep meeting up at parties and fall a little bit in love every time" and "gideons angry she lost her childhood to the cult so she attends a party with the tridentarii to shotgun adolescent experiences, and harrowhark, frustrated that gideon is pulling on her metaphorical leash, follows to stalk her". the former retains a 5+1 fic format and is more bite-size, while the latter puts more focus into their growth as characters. im not great at articulating what i like specifically, but ill put my favorite fics below:

what if nona was dogs tugs at my heart: its post-canon, slice-of-life, and has a unique concept (said in the title). i judged a book by its cover because i thought the premise seemed too silly at first but ive been made a fool and its pet clown. it feels so true to nona the way its about all the things nona loves and how she gets to explore the world through new eyes. i love the way it explores characters softening up and getting hurt through a third person pov

we have always lived in the apartment by @thatneoncrisis i keep saying this but for the love of GOD guys this au is so good it makes me cry and feel such a deep catharsis from it. it takes gideon and harrow and the ninth as a cult and explores their struggle to adapt to a modern society when noone ever gets a break (WOW ITS JUST LIKE IN REAL L-). quinn writes the sides of griddlehark i think go overlooked in fanfic often: their codependency, their tendency to lash out when theyre defensive, their mutual paranoia and different coping mechanisms, harrows psychosis and gideons bitterness, their relationships to each other as being the only other person who really understands what the other suffered through. god. i feel lightheaded.

"but SAM, i dont like angst but i want to see this writing!" read gap between a tragedy and a comedy

"SAM, i also like when gideon and harrow are horrible because theyre maladjusted teenagers! but i want more antics where the characters drive things forward over angst!" read whats eating gideon nav

you just aint receiving is one of my FAVORITE modern aus of all time (and i heavily recommend the authors other fics as well!) if you really want to see how much i love this fic the fact that my comments take up the entire phone screen probably says a lot. its hard to put it concisely: it keeps harrows air of misanthropy and cruelty but redefines it as the result of her upbringing and personal struggle to live in a university while dealing with a backpack of mental illness and frustration. it changes gideons personality as the daughter of john gaius in a way that makes sense having her grow up with johns middling parenting skills and getting everything she ever wanted (connecting it back to kirionas personality in ntn!). it brings in side characters (specially palamedes. my beautiful boy palamedes) in ways that compliment harrow and gideon but not so obviously that they only exist to be supports. they have their own lives and ideals. its a modern au that brings in the boiling politics of johns cult uprising once again in a really novel way

semi charmed kinda life by @griddlebait. jesuchristo and all his middle names this fic is GREAT for you if you want a slice of life, coming of age type modern au that explores what its like for gideon and harrow if they actually got the space to see who theyd become outside of the stifling fate tlt has for them. as far as modern aus go im usually very hesitant to read them because im afraid modernizing the characters takes features away from their core but i really love and respect the way the author treats the 69ers with care and draws distinct lines that shows me how their grow and change while keeping a line to the anchor. also they write HIDEOUS (complimentary) PINING. DISGUSTING. some of these chapters were so chock full of dyke drama that they made me nauseous and whimsical. i think once a friend said this fic felt like if gh could be reincarnated and i like that descriptor a lot

til the cows come home is another postcanon fic that made me feel sick and crybabyish about it- i would definitely recommend it if you want to explore a happier ending with griddlehark! with this and what if nona was dogs the thing i like most about them is that they mix up vulnerability with pain and fear, so it feels more lifelike that way if that makes sense. i lost my taste in fluff fics over time but when its interspersed with struggle and characters causing problems because they cant cope with themselves it feels much more earnest and raw

this became very long. im not sorry

[silviakundera]

How's duke Su different in the books from the show?

Short answer: perhaps we can consider novel!ML as the person drama!ML has liked to imagine he is

Long answer:

original flavor novel Duke Su is not gonna be caught crying a single perfect poignant tear for NOBODY

the man is cold as a chinese celebrity's career who hasn't paid taxes in 10 years

infamously gave a lukewarm review on novel FL's original self, the city's Most Beautiful (3 1/2 stars: attractive enough but no X factor)

(note: novel!FL was a calamitous beauty in Life 1, not the Most Talented. She was super talented but was conforming to convention and hiding her brilliance to fit the role of a proper official's wife)

(this bland review is not actually a point of resentment for FL, whose POV is, 'yeah fair enough, you could call me overrated')

(the Jiang Li's body is not Shockingly Most Beautiful like in Life 1; she doesn't miss being outrageously hot, as it was mostly a nuisance)

Duke Su is still dramatic af and lives for theatre

Still loves fans & gorgeous clothes (the man wears butterflies on his cloak) (he loves beauty so much he only staffs exceptionally attractive servants and has elite gardeners to ensure THE MOST GLORIOUS FLOWERS IN THE DUKE SU MANSION ONLY THE BEST FOR THIS LORD)

(like I really must emphasize how little chill novel!ML has: at one point FL notes that a new resident rented down the street from the Ye family, with hot ass servants and blaring opera non-stop, it's clearly Duke Su for some godforsaken reason)(and she's right)

Still suspecting FL's identity and amused at her bravado

But has zero inclination to ease her pains or preserve her life

Before FL gets to the mines subplot to come rescue her dad, he has been just sipping tea and enjoying the show (despite her fucking up a couple of his plans - he loves a good public play and tbh he is confident enough not to be pressed about some minor deviations)

he doesn't reach out to lend a hand until she FORCES him to act

By loudly exposing to a group of assassins that Duke Su has obviously been plotting a long game in the shadows for years to destabilize and split the court, raising Wang Chang, the Princess, Li family, Jiang family et al to gain power & fight each other and trouble the throne - so Duke Su becomes the 1 most powerful & trusted councilor to the emperor.

(Yes we have a Story of Kunning Palace situation here, where the drama adaption tweaks the ML's motives and aims so he's going in the same direction but is pro-emperor instead of scheming & manipulating for his own personal interests)

Duke Su was ready to literally watch FL be horribly violated & murdered, but then she spilled the tea and he had to drop bodies to destroy the evidence

He's gonna kill her too but like in a quick & polite manner, he's a gentleman

But she was super understanding about the whole situation and so he ended up hearing her out: how about just let me get my revenge first? Very convenient to you, here's a suicide voucher, could we come back to this at a later date? 2 to 3 good plays included. xoxo

Now he's got a voucher for 1 (one) strange teenage girl

Who doesn't appear to be a teenage girl.

She's also completely won over his sidekicks.

This is gonna take a lot of fans.

[raevnq]

I've been seeing people shame mxtx for writing sex scenes in her own books. They say things like "it's so unnecessary" or "she's fetishizing them" but I don't think so. In fact if you analyze her books you understand it actually helps develop/expand more on their relationships and the characters themselves.

I'll go down the line starting with svsss

This was her first book published. The first time luo binghe and Shen qingqiu get.... Intimate it's because Shen qingqiu wants to help binghe. We already know Shen qingqiu holds him in high regard though some doubt he actually is in love with binghe. To me the scene shows his devotion and love for binghe. Luo binghe when the scene first begins isn't himself. Shen yuan knows this as well. Throughout the whole story he had been in some sort of denial. Saying things like he himself is straight or luo binghe is destined for a harem. Leading up to the scene we read Shen yuan kinda realizing/acknowledging he has feelings for binghe. While it's not spelled out plain as day it is there.

Svsss has the most backlash when read. From people saying the main couple has no chemistry to the papapa scenes. This scene and another (🍾 if ya know ya know🫡) get the MOST criticism. Now I'm not gonna lie and say I got why she wrote these scenes right as I read them. I'm also not saying people aren't allowed to have opinions. I am just tired of mxtx being painted as a weird person for writing these scenes cause some people don't like to analyze things.....

Anyway sorry I got off track😅 the scene between binghe and Shen yuan develops Shen yuans relationships and character. It's the final interaction between them that makes it click to Shen yuan that binghe is a real person who struggles and not just the character in his favorite(most hated) novel. He sees binghe as a person and wants to help. People say the scene was very non-consensual but Shen yuan is the one to initiate. He starts kissing binghe to distract him and when it starts becoming more than kissing he's okay with it. When binghe snaps out of his trance-like state he's HORRIFIED by what he did. Luo binghe would never harm Shen yuan. He asks why Shen yuan didn't push him away or kill him(🙁) and they have a heartfelt scene where Shen yuan tells luo binghe he matters and is loved.

Svsss is a tragedy written as a comedy. Most scenes are overlooked because Shen yuan's way of coping is humor. We only see things from his pov and he also likes to overlook or push past things when they get serious. This scene gets the most criticism because even he can't joke his way through it. He can't be light hearted because it's like a flip is switched and he realizes this is real, these people are real, and I care for them. Not to say he didn't know there were times he was like "oh, this is my life now" but subconsciously he's not taking things seriously. This scene cements this for him. Which is why the scene is so heartbreaking. It's not just "oh we had sex and saved the world" it's him seeing things as not a game clearly. Even if he jokes about it later you can see the change in his mindset. He loves and cares for these people and now they don't just feel like NPCs to him. They are not just a means to an end. They are REAL and that scene helps it finally click for him.

I was gonna do all of them but I'm actually starting to get mad soooo the next two will be later 😅

[sarascamander]

Reading the cursed child (scorbus, norvelize version in a03). I read the script years ago when I was 11 (funfact it was the first harry potter book I've ever bought). So I'm rereading it again because I have a scorbus brainrot suddenly (11 y/o me shipped Scorpius and Rose so hard but now I grew up let just say my taste had change lmao).

List of thought gonna go longer as I read:

- yo Albus surly personality is basically me when I was 15 it was like looking into a mirror. Hold on there baby I understand you 😭

- I want to write a whole essay on Albus and Harry's relationship. They both are so precious but they just have a hard time with each other.

- Scorpius is the sunshine most sunshine cinnamon role ever. I would kill for him. I would die for him.

- ALL THOSE BULLY BETTER STAY THE FUCK AWAY FROM MY OUTCASTS BABIES.

- “And be my good friend.” what if I die.

- why do people love to torture the cinnamon roll??? I want to hug Scorpio so bad like baby you deserve the moon and the sky and the world. And the fact that he's still trying to be so cheerful and optimistic. THE WORLD DOESN'T DESERVE HIM.

- Albus and Harry's father and son angst is killing me but it is also so delicious I relish in it (it's just so complicated I love it).

- "you’re kind, Scorpius. From the depths of your belly, to the tips of your fingers." Is the sweetest thing I've ever heard anyone said. I love this quote so much I want it tattooed on my forehead.

- Again, Scorpius deserve the fucking world.

- Scorpius and Draco's relationship is SO GOOD, SO PURE, SO SOFT. They love each other so much 😭

- brb I'm going to cry at the fact that Dark AU Ron and Hermione die in such a terrible way a few minutes after they finally confess their feelings (they were scared). 😭😭😭😭😭😭

- Snape is so dramatic. Girl "you're giving up your kingdom for Albus... All it takes is one person." he made it sound like they're in a romance fantasy novel (they are).

- Head empty. Scorpius happiest memory with Albus is strong enough for him to produce a patronus.

- Scorpius is once, again, a cutie pie that deserves everything.

- Delphi is more manipulative than I realized when I first read this lmao.

- GIRL the way Albus said that he and Scorpius ran away to start a new life in the muggle world as an excuse — what do you mean you're eloping at 14??? (Out of chronological order but I just remembered this)

- Delphi when I catch you —

- Never thought I'd be rooting for Draco and Harry duo yet here we are (did I say I love Draco as a dad?? I don't think he's appreciated enough. He's a brilliant dad! THIS is his best redemption arc).

- "What did you say to our son, Harry?" GO OFF QUEEN (Albus is a confirmed mommy boy)

- RON WANT TO MARRY HERMIONE AGAIN. I don't quite ship them in the book/movie but they're just the sweetest in here 😩😩

- I just had the sudden realisation that Scorbus might be the only couple that I ship in hp that is so close to canon (and was canonised by some play if I heard correctly).

- that time where they were in godric hollow and Scorpius was surprised that Albus never knew the full story of his grandparents or visited the place just bc he was being a petty, moody uninterested teenager hit so hard (he is me and I am him). And the shame he felt was real too. I always regret those years in my life where I acted like that and I don't even have a daddy issue like Al did, what's my bloody excuse lmao (I blame fucking hormones) 😩😭

- okay so finished it!! When I was a kid I don't quite like the time travel thingy and find it very confusing but I think it's because it's a screenplay yk, and it was meant to be watched not read. But the novel version did help a lot (and I give the author my hundreds of gratitude, her writing is absolutely beautiful! And she captured the characters perfectly! If you're scared to read The Cursed Child, read her novel version in ao3!!!).

I'm surprised that I actually love the plot more than I thought I would. Yeah it can get a bit unrealistic at times but all in all it's very entertaining and Albus and Scorpius are very well written, very rounded and nuanced characters that carry the book. I'm glad their parents didn't overshadow their personality etc (like them being mini-copies of Harry and Draco). They're their own person and I love that about them!!

They're not Drarry or even Jegulus as I've seen people say, they're in their own league. There are no enemies or hatred or tension between them; Scorpius and Albus genuinely like each other so much from the first they laid their eyes on each other and I adore them for it.

I read a theory that Albus was sent in Slytherin because he subconsciously wanted to be in a house with this kind boy met on the train and it made me want to cry (they were made for each other). (Although I do think Albus have many Slytherin traits, Scorpius I was less sure he screamed Hufflepuff/Ravenclaw to me but admittedly he can be cunning to).

So yeah, I don't think it's that bad as everyone said (and my 11 y/o self). It's fun and I actually cried a lot at the end of it (I have to watch Jily die, do you have any idea what that did to me???) (I don't even ship them but i swear this book set me to default back to canon).

I really want to watch the play, would die for it but it's impossible and I can only dream.xoxo

[maxdibert]

Hi, I really like your blog. I have two questions. Why is Gryffindor supposedly "good" and Slytherin supposedly bad?

What about the other Hogwarts houses?

I think Rowling didn't anticipate that her saga would become so popular and probably had an idea of how she wanted to approach it at the beginning, which revolved around classic English children's literature, heavily inspired by Dickens or Dahl. We can see this in how the characters are initially presented in a completely one-dimensional way, with the magical world serving as a backdrop, a fantasy lacking depth, simply meant to make not only Harry but also the readers (who are children too) dream through Harry's eyes. The good characters are very good, and the bad characters are very bad—there's not much more to it. This is where Slytherin comes in as the rival house, the nemesis, the representation of the place where the bad guys go, like Voldemort, Draco (who is the typical character that irrationally antagonizes the protagonist, the rich bully), or Snape (the teacher that the protagonist hates because he has it out for him). It’s a concept that works for a children’s book because you don’t expect children’s literature to delve much deeper into the dichotomy between good and evil, as that’s how children’s literature is. This works in the second book as well, which maintains the tone, and even in the third. But starting from the fourth, this becomes quite problematic because Rowling begins to give her work, her world, and her characters a greater depth. Rowling transitions from children’s books to young adult books, and as the plot thickens, that complexity should also extend to the characters and worldbuilding. However, this is an area where Rowling fails miserably because she has laid down very solid foundations regarding the world she has created. Breaking those foundations and making them more complex would require a lot of work, and I simply believe she wanted to move forward, finish the saga more or less as she had conceived it, and that was it.

There are many things that fail, such as the fact that the dichotomy between good and evil is so present, with "gray" characters that are not fully developed, alongside the insistence on portraying characters who are not good or ethical (James, Dumbledore, Sirius) as if they are. This creates a constant cognitive dissonance. For example, I firmly believe that Rowling did not plan for James and Sirius to be so utterly unpleasant, disgusting, and violent at first, but she needed the reader to feel sympathy for Snape somehow or to understand where his hatred came from. So, she turns them into despicable bullies, the same ones she previously presented as examples. At the same time, we have to believe that Lily, who is the epitome of goodness and morality as presented at the beginning of the saga, ended up marrying a bully. These are plot holes; they don’t make sense at all. These are things she could have justified by giving those characters more nuances, more personality, and providing us with more references, but she chooses not to because that would break certain foundations she established in the early novels that she doesn’t want to touch. Thus, we are left without coherent explanations for certain events.

The same thing happens with the houses. I mean, it’s understandable that a child Harry would see Slytherin as the worst hole in the world, but a teenage Harry, a 15 or 16-year-old Harry, should have a broader perspective. Rowling doesn’t do this because she already had in mind who the bad guys would be from the start; including good characters in that house would mean having to change the very rules she established at the beginning of the story or even having to alter the course of some of her characters. While this is perfectly possible, attainable, and can be done, it requires a lot of work and development of the world and the characters, and we are talking about someone who doesn’t stop to complicate those things. She follows her narrative course to the end, even though there are issues that we have to accept despite their multiple inconsistencies.

Gryffindor is supposed to be the good house because they are brave, but the reality is that most characters who truly exemplify Gryffindor qualities are complete jerks. James and Sirius are bullies, Remus is a coward who goes around impregnating twenty-somethings and abandoning them, Peter is a traitor, Dumbledore is a manipulator who doesn’t give a damn about his students unless they serve a purpose in his plans, Hagrid is an irresponsible figure for his students, Ginny ends up being something like the popular girl, and in reality, she’s a resentful brat who martyrs everyone who says something she doesn’t like. I know you love the twins, but their pranks are terrible; I wouldn’t have tolerated people like that in my class, and many of them are dangerous.

In Western culture, there has always been that ideal of the hero, the knight who goes to war and either dies or triumphs, always wielding a sword. This is a bit like Gryffindor. I understand using that at the beginning of the saga because it was for children, but it ages very poorly. And it does because Rowling doesn’t want to step out of her dichotomy of good versus evil. There are Gryffindors who are just as bad or worse than many Slytherins, but their actions are never condemned, nor does the narrative treat them as something completely negative (because they make excuses or justifications) simply because Rowling established from the beginning that those characters were good, and therefore they had to remain good until the end, even though many of their actions are inconsistent with that discourse. On the other hand, Rowling herself was surprised when Draco Malfoy ended up having several fans because she had established that Draco was horrible, was bad, and had no redeeming qualities. But at the same time, she presents a 16-year-old boy terrified because a psychopath is threatening his family and he feels compelled to kill (something he doesn’t want to do) because otherwise, they will kill his parents, and Rowling expects us not to feel empathy? That we think that boy is a horrible monster? That’s what I mean by the cognitive dissonance with her own rules and characters; it simply doesn’t make sense.

The characters from other houses are merely extras or barely matter until almost the end of the saga (Luna doesn’t appear until the fifth book) because clearly, Rowling didn’t give importance to the other houses; they weren’t part of her good versus evil dichotomy; they were just part of the decoration. Then she realizes she has to give them something, so in the fourth book, we have Cedric, and in the fifth, we have Luna and Tonks, because, of course, the story is no longer for children; the story is no longer just about Gryffindor vs. Slytherin (although it still is), but she again fails because she is not able to turn around the established foundations, and her attempt remains just that: an attempt.

[cordjefferson]

Hi! Not sure if you still answer questions on here, but I feel lost as a screenwriter right now. In my final year of film school, I’m afraid the “industry” we are about to be let out into no longer exists. I don’t want to go back to journalism, but I also don’t want to fail at screenwriting in vain. I’ll keep going, but just wondering if you’ve ever found yourself in a similar place. Hope you’re well.

A few days after Trump was elected the first time, I called my dad to complain and commiserate. He listened to me worry for a few minutes and then he said, "You know, when I was a young man, it was common to wake up and find out that Medgar Evers had been killed or that Malcolm X had been killed or that Martin Luther King Jr. had been killed, or that another person had been lynched somewhere not too far from where I grew up. It was terrible, but we had to go on living our lives."

It was a helpful reminder that shit's always sucked -- in many ways it used to suck worse. That doesn't mean your fear is unfounded. You have every right to be afraid as all the world's ghouls circle their wagons in an effort to eternalize their wealth and influence, thus making our already intractable problems feel even more intractable. But the great news is that now is the perfect time for you to make your art.

Hard times can make for excellent work. Consider that punk rock and rap blossomed under Reagan. I'm currently in the middle of a novel called The Oppermanns, which follows a trio of German-Jewish brothers in 1933 Berlin dealing with the rise of Nazism. It's a great book on its face, but the whole piece becomes even more interesting when you discover that it was written by a German-Jew in real time as the Nazis rose to power.

Even if what you write isn't taken seriously at first, making art is never a failure. Artists aren't athletes, meaning you don't need to produce your best work before you turn 35 and your knees give out. Creativity is a lifelong pursuit. You'll only get better at it the more you live, learn, and grow. And because the winds of industries and the world are always changing, allowing their vagaries to scare you into inaction would be a death sentence.

I had a very long dry spell in the year 2014. I went to meeting after meeting trying to get into a TV writers' room and was rejected over and over again. After almost nine months of being told no, I finally emailed my manager one night to say that I was going to quit "working" in TV and go back to what was left of my journalism career. He asked me to stick it out for one more month, and two weeks later I got an interview with someone who hired me. Work has fortunately been pretty steady ever since. So, of course, stubborn persistence is also a valuable tool in all of this.

I can't imagine I'm saying anything that you don't already understand somewhere in your heart. You know that you've picked a challenging career. The arts are infamously cutthroat and chancy, and many of your contemporaries are going to quit somewhere along the line. It's a tough road to hoe, and the only thing that makes it at all tolerable is the ability to find value and joy in the making of your thing, whatever that may be. If writing something feels like it's been done in vain because you don't sell it or it doesn't become a hit TV show, I recommend you don't do this work. Only do it if the doing of it is what sustains you, because the doing of it may be what has to sustain you forever.

I'm rooting for you from afar. XO

[frandomgorl]

I’ve decided to write about my Outsiders pet peeves

TRIGGER WARNING: Dally’s suicide

1. Saying that Ponyboy is bratty or over dramatic. First of all, he’s a freshman in high school. Mostly everyone I know was annoying as a freshman too. He JUST turned 14 in the book, so yeah some of the things he says are petty or rude, but he’s a child. Not only is he a child, but he’s established from the beginning as a character that feels things deeply, he contemplates things that he can’t really vocalize with a majority of the people around him. He has no parents, and he feels lonely after their death. I personally have siblings but if my parents died, especially at a young age, I’d feel lost and lonely too. Him having brothers doesn’t make the gravity of his parents death any less saddening.

2. People who watched the musical and said anything along the lines of “I don’t like that Dally committed Suicide”. Because he committed suicide in the book too. And it wasn’t like some secret that he did it, it wasn’t “heavily implied”. He wasn’t just lost and confused so he made trouble and was reckless. Because Dally was not unintelligent. He knew if he robbed the store, the cops would come after him. He knew that if he pointed the gun at the police, they’d shoot him. There was nothing accidental about his death, and to imply that is insulting the characters intelligence and minimizing his feelings. Assisted suicide is still suicide.

3. Anyone who demonizes Darry, wasn’t paying enough attention to what ever version of the Outsiders that were reading or watching. I mentioned earlier that I didn’t like how some people talk about Pony, but Darry also tends to get demonized by a lot of people. A lot of people think that you can’t like both Darry and Pony, but that’s not true. Darry was doing his best in his circumstance and always had Ponyboy and Soda at the top of his list of priorities.

4. People who write Dally in a way that glorifies his actions in life. I understand that everyone wants to think of the gang as these sweet little guys with an adorable found family. Hell, I love those fanfictions, but you can love a character and also understand that objectively they aren’t a good person. I love Dally, and I’m sympathetic to him because of his past, but I won’t justify the things he does. Dally does, and has done a lot of bad things in his life, and he has a lot of flaws. I’m not going to make excuses for him. I can be sympathetic to him, and also truthful about him.

5. I have seen some people talk about Randy’s redemption in a negative light. A lot of people saying it felt like too little too late. However, Randy having that redemption is so important because it emphasizes the similarities is the social classes. His arc also serves as a reminder that’s the docs were human too. He was an example of positive change within the series.

6. I understand if the outsiders isn’t your cup of tea, but just because you don’t like it doesn’t make it bad. I don’t like rom coms, but that’s not because they are bad, it’s because they are rom coms, I can’t sit through the genre. The outsiders is at its core a coming of age novel that still rings true for a lot of people today. So my last pet peeve is people saying it’s “it’s just a school assignment”. At its core it is an assignment but a lot of people see themselves in these characters and that’s something no one should feel bad about.

Thanks for coming to my TED TALK

[ineffablelara]

Loki's dysfunctional family

"I don’t want to hear your riddles and your vague excuses for him, I want the truth. Answer me!"

This is from wml, I consider the book to be its own canon but still, I think this sums up Loki's relationship with Frigga very well, he loves her and she loves him but her priority is always defending Odin, even if she has to lie to Loki to achieve that, she also created this persona where she is the wise, all-knowing queen who always knows better than everyone else, I love how it's the one thing that all the movies that feature her got right, she's probably the most consistent character from all the Thor movies bc she always behaves and speaks in the same way: "You're a little foolish child but I love you and I also know better than you'll ever know so just listen to me for I am you mother and I'm wiser than you"

Like, even in a deleted scene from the first Thor she displays this slightly narcissistic behavior (I didn't want to use the word narcissistic bc that migt be a bit extreme but rn I can't think of another word, please don't think I'm calling her a monster or something, I just think she displays a little arrogance in ways that can be considered funny, playful or harmless sometimes)

"Thor, just remember, you have something even the great Allfather never had" "What is that?" "Me for a mother, now don't keep you father waiting"

"Always so perceptive about everyone but yourself"

"You're no idiot, you're here aren't you? Seeking counsel from the wisest person in Asgard"

This is just from the movies, in the official tdw novelization she has a conversation with Jane that happens after the "don't let him hear you say that" scene that goes:

“I can’t remember the last time Thor brought a friend home to meet us,” Frigga said to Jane. “When a young man brings a young woman home to meet his parents…” Frigga began, implying a possible marriage between Thor and Jane. “Technically, I think we have only known each other for three days,” Jane said, surprised to be having this conversation so soon. “And if it were three million, would that change how you feel?”

This last one always makes laugh bc... girl I really don't know if my feelings for a man I met three days ago would remain the same after three million years, was that really supposed to sound wise and reasonable? lmao okayy

And the "Always so perceptive about everyone but yourself" one kinda makes me uncomfortable bc it sounds patronizing, this might just be my own traumas speaking but telling someone that they don't know how they feel but you do always strikes a nerve , it makes me so angry bc who are you to tell me that I'm wrong about my own feelings?

And also, is Loki really not perceptive about himself? Really? Is she going going full Thor with the "imagined slights" thing?

This is what bothers me the most about Loki's family dynamic, they NEVER take him or his complaints seriously, they always downplay his grievances to make him sound ungratefull or overly dramatic and this is one of the most hurtful things you can do to a person imo, Loki voices a discomfort he has with something about their family and they instantly try to silence him or make him feel bad for complaining, that's why I'm glad he started to stand his ground with her in the prison scene

I think he then understood how alone he truly was, Frigga didn't exactly wanted to hear what he had to say nor did she try to understand him and his motives for doing what he did, she just wanted him to accept that Odin was indeed his father, a great King who did no wrong and they were a perfect family

And this doesn't happen just with Frigga, Thor participates in that too and their behavior almost reads to me as gaslighting sometimes, there's a scene in wml that always stuck with me:

Thor let out a heavy sigh. “I don’t know what it is that I have done,” he said, his voice softer than usual. Loki snorted. “Oh, please.” “I’m trying to apologize.” “And yet you can’t even work out what for, so I don’t think it counts.” Thor stared at him, his hands working in and out of fists at his side. Loki braced himself, ready for Thor to strike something, possibly him, but instead he said, his tone soft with hurt, “You are so determined to despise me, aren’t you?” It would have been better to be struck. Loki flinched as though he had been. “I don’t—” But Thor held up a hand. “Spare me, brother. Whatever you hold against me, whatever I have done to wound you, I hope you know that I am not your enemy. I want to fight by your side, not against you.”

For those of you who haven't read the book here goes some context: (ohh and obviously this contains spoilers so be aware)

Loki and Thor were sent to a diplomatic mission in Alfheim and things got out of hand, Loki then came up with a scheme to turn things to their favor wich Thor promptly agreed, things obviously didn't turn well for them and they got caught, they were sent to Odin who demanded an explanation for their behavior, Thor then tossed all the blame on Loki, saying that it was all his idea and he had no choice but going along with it, Odin then scolded Thor and let him go and proceeded to HUMILATE Loki for his behavior and even insinuated that his son had a dark and evil nature and there was no point in trying to change that bc people can't change their hearts and who they really are deep down, Loki was really hurt after Odin's harsh words and Thor went to "apologize" to him, Loki was furious and said they could have at least shared the blame, but Thor said that he couldn't risk angering their father, Thor then says the first line of the dialogue I put here and well, I'm assuming you read the rest.

Like, I can't believe Thor's audacity in that book, he threw his own brother under the bus bc he was scared of angering Odin and then left Loki there, completely alone to face their terrifying father (they're both scared of him in the book, it's very clear), then he goes to his rooms with a half assed apology and expects Loki to just forgive him and his cowardice as if nothing happened and goes even further by saying that Loki just keeps trying to find reasons to despise him???

The worst part is: It works, Loki wishes that Thor had just striked him bc his words hurt more than a punch, nevermind that he was the one who just got betrayed, Thor finds a way to paint him as the bad guy and Loki buys it, istg they're so toxic, it's painful to read but at the same time I feel it's so accurate

Also, I'm not hating on Thor for behaving like that btw, yes it was fucked up and he was a coward but that's only a symptom of Odin's bad parentage, his influence destroyed any chance Loki and Thor had of being normal, loving siblings, they were so terrified of him that they were willing to do anything to stay on his good graces, even if that meant betraying each other

Ans my point is, Loki's family is used to turn his words and actions against him, even if they're not aware of what they're doing, they manipulate him to invalidate his feelings and that only alienates him further from them, he gets more and more alone bc no one ever tries to show him genuine understanding and compassion, they only ever have accusing words for him and make him feel like he's a monster for criticizing them and their crappy behavior, he knows that he can't count on the two people he loves the most (Thor and Frigga) to share his pain and suffering so what does he do? He drowns in his own sorrow and heartbreak and lets those negative feelings fester inside him bc he has no one willing to listen to him, willing to be a friend

That's part of his tragedy, stuck in a toxic family that makes him feel awful for daring to complain about their behavior and spending his whole life without ever making a real friend (I mean, OG Loki at least), always isolated, always misunderstood, vilanized by the very people who claimed to love him, and I mean, if his own family thought he was a monster how could he allow himself to show vulnerability to others? They would hate him even more right?

And just like that Loki stayed stuck in his toxic family for nearly his whole life, bc he was unable to let himself be seen by others, the irony I think, is if he left them he would see how fucked up they were and would surely break free from their toxicity but his fear of being misunderstood kept him chained with them forever basically, and the longer he stayed the worse his self esteem got, and the worse his self esteem got the longer he stayed.

Thanks for reading all this, I don't think I ever yapped that much about Loki but I really could spend a whole day talking about his dysfunctional family lol

[carriesthewind]

I can't stop thinking about the notes on this rage-bait post about To Kill a Mockingbird.

Some of it is the sheer number of people falling for the bait and believing that the school district in question banned the novel:

But there's also this...tone to so many of the notes that I find fascinating. And I think two sets of comments illustrate why:

Every time I look at these tags I feel like there is something more to unpack. If I am being kind of flip, I can roll my eyes at someone "sigh[ing] at the lack of reading comprehension" while falling for outrage bait.

But more seriously, I feel like this comment is completely right about needing to be uncomfortable and leave sterile environments in order to grown and change...but that comment exists in the context of the writer being so deeply uncomfortable at the mere idea that an over 60 year old book will no longer be taught to some children that they completely fail to interrogate the underlying story. There's a failure to take the next step. It's possible the writer was uncomfortable when they first read the novel, but to quote a tag I didn't capture here, it's "one of [their] favorite books." The book doesn't make *them* uncomfortable at all. The writer is not willing to interrogate that the school district might have had good reasons for switching the book out of the curriculum. Instead, they assume that the reasons are because "people don't understand" the book - the writer "see[s] what they look for."

I love To Kill a Mockingbird. (Hell, I'm one of those white future-public defenders who read the book and saw the movie and watched Atticus with my soul in my throat and, while I was not directly inspired by him, he resonated with a deep part of me.) It would be an uphill debate to convince me to remove it from a teaching curriculum - but then again, I'm not in charge of any teaching curriculum and have zero relevant expertise. I've read now a number of different articles and reactions to this incident, and the reactions rarely have anything to do with the reality of what decisions were made and why. You have to jump through numerous links to find what appears to be the original parent complaint:

Yolanda Williams said she found out that students were saying the N-word and laughing in the classroom, and it was offensive. “Students were laughing out loud at the teacher’s response. That’s unacceptable to me,” she told the board. “Is there not a better way to teach about that era and the horrors of that era, other than having kids laughing in class when the N-word is said? It should not be required reading for all students. My child shouldn’t have to sit in that class like that.” “It’s not a conducive environment,” Yolanda Williams said. “It’s not just the book, but supplemental material that had the N-word.

(How much do we value, how do we weigh, one way of learning about the history of racism, against the pain of a black child? Whose comfort are we willing to sacrifice, and for what?)

The second comment I come back to is much shorter, but I feel like it's where everything fell in to place for me:

Were the people made uncomfortable by the book white people? How many of them? I don't know for sure - although I know at least one of the parents, as quoted above, was black - and neither do any of the commenters.

Why do we read "people" and see "white people?" And in a way, I'm asking a rhetorical question - because of course we do, because the tweet is set up that day. And, even more so, of course we do - because the people the book is for are white people.

To go back to the previous comment, the one I can't stop unpacking: the writer quotes a famous line from the book, "You never really understand a person until you consider things from his point of view...until you climb into his skin and walk around in it."

And yes, I love this quote.

But.

But.

To Kill a Mockingbird was written by Harper Lee, a white woman.

The narrator of the book is Scout, a white child.

The hero of the book is Atticus, her white father.

The embodiment of the theme, the person whose skin Scout tries to step into, is Boo Radley, another white man.

Do you remember, the man who was murdered? Do you see him in that picture at the top of the post? How long does it take you to remember his name?

When do we step into his skin? When do we walk around with his perspective?

I love To Kill a Mockingbird. But if a school district wanted to teach a book to embody this quote, aren't there so many better ones?

Another commenter on the post appears to have actual lived experience with this book being removed from the teaching curriculum.

[salpho]

Current plans (rambles and ideas) for the DCTL redrawn project

First off, I just came up with that title on the spot and it works super well so I'll stick with that probably pffh. Follow the tag if interested in participating !! Anyways, here's my rambles.

I wanna do some more research on Chris Hastings. Fellow Bendy wiki staff have pointed out that he adapts the books rather than illustrate them, which I didn't realise had any difference beforehand. Basically means directing stuff like backgrounds, setting, etc from my knowledge. They sourced this user that seems to know a thing or two about him and his work, along with getting an early copy of the graphic novel. I'll do proper research and make a seperate post soon for this.

Moving onto the project itself, I've got some jumbled thoughts I'll try and make sense of-

I'll reread DCTL to understand the book properly, all work going foreward from there

Design work will start after this, all characters will have set, universal designs based off of canon, official (such as meatly's word), book descriptions and more, such as racecoding (I'll do justice for Thomas and Norman) and time period. I'll likely be designing them alone, but I may listen to other participant inputs and ideas to make sure they're the best they can be.

This novel will be drawn from scratch !! We won't base or reference anything off of the original graphic novel, we'll only be using the original DCTL book and its word.

Every page will act as a "map part", basically having one artist do an entire page/pages. Some may want to collaborate with others (such as one person doing the backgrounds with the other doing characters) for their pages which is more than welcome.

Newer/less skilled artists are more than welcome to offer to participate, please don't let your skill level or own perception of your art discourage you !! I'd love to give you all a chance.

I may be pinging those who said they'd be happy to participate once I make the call post. Once ready to make that post, I'll be starting a discord server for communication. This will also include a google doc or something similar so we can get full quality pages from everyone rather than compressed images from the app.

The project's novel will begin with foreword. This will include background for why it was started, clearly state it was made as a protest against the original graphic novel, Mike's view of minorities in fiction and will also state it was made because we care and love this series, and want it to do better. It will credit and link to the artist who drew the original and explain why we believe the artist was mistreated and should've had more time and pay. Stuff of that sort.

Every page will have the artist's signatures/@'s in the margins, and the novel will have a glossary of all who participated.

Things may change, we'll see, but these are the rough plans I've got so far. Would love to hear your thoughts and ideas as usual !!

[budd-ie]

I’ve seen people complain before that hualian doesn’t need sexual themes in it and that it would be fine (or better) without it, and this opinion is completely valid to have and it’s completely fine to ignore the sexual themes to better your own enjoyment if it adds to the individual experience, though I also think it’s important to acknowledge sometimes that hualian does have a sexual relationship and that those sexual themes are prevalent throughout the novel and it’s okay for this to be the case. My personal opinion is that I think these themes are really cool and actually help us gauge character growth in a plot relevant way, especially for Xie Lian.

(Some book 7/8 spoilers ahead)

Along these lines, I’ve also seen people question why Jun Wu is so fixated on Xie Lian’s virginity. It’s true that it feels like a weird and specific thing to fixate on, though I’m sure the plot relevant answer to that has to do with Xie Lian’s cultivation. His cultivation style requires a pure mind and body, and maintaining cultivation rewards one with more spiritual energy. The short and simple answer is that by ruining his cultivation Xie Lian will be weakened in both power and mind, and attacking his virginity is the fastest route to achieve this (such as in the land of the tenders). As true as this is though, it really isn’t everything. Remember that Xie Lian begged to join the temple before he was of age because he was so determined to start cultivation. Not only did he take it extremely seriously, but his commitment to cultivation was one of the reasons (besides hating his dad) that he basically lived at the temple and wouldn’t come home for months at a time. Otherwise, he never found interest in consorts or getting married and starts chanting Dao De Jing if he even suspects something has the potential to start messing with him in order to maintain his steady heart and pure soul. Thus, cultivation is fun and rewarding to him.

This was before and during ascension, but what about after? After his second banishment, I honestly can’t imagine he’s actually trying to ascend again, so why cultivate?

Isn’t the answer there just because wants to?

At its heart, Xie Lian’s cultivation is something that seems to help ground him; it makes him feel comfortable and gives him something to focus on. Furthermore, it’s one of the last things Xie Lian actually has control over, isn’t it? Especially after falling so far into despair during his first banishment, cultivating is his way of rebuilding and holding on to himself, like a way of healing.

Thus, as it coincides with his cultivation, virginity is also extremely important to Xie Lian, simply because he chooses for it to be. Maintaining these principles is one of the main things that makes him feel like he’s still doing okay and is still in control.

All that being said, why did Jun Wu have a virginity detecting sword? If we really want to speculate a Xie Lian-centric answer to this, let’s establish that Jun Wu knows enough about Xie Lian to understand his individual relationship to cultivation. If Xie Lian is not a virgin during the Lan Chang in heaven scene, that means he has broken his cultivation. If Xie Lian’s cultivation is broken and he is genuinely unbothered by it, that means that Xie Lian has grown into a different, much stronger person than Jun Wu anticipated. It also means that controlling him by targeting his cultivation/virginity specifically isn’t going to be as effective as it might have been in the past. That’s what I think makes it matter so much to Jun Wu strictly from a plot perspective.

Following this logic can take us further too, because everybody who read extra chapters knows that Xie Lian does NOT leave this plot a virgin, but he’s very okay about it, which is also not at all where he starts. Xie Lian’s relationship with his own sexual nature is something that is constantly evolving throughout the novel, and it’s something that he struggles with tremendously that causes him a lot of torment whenever it’s challenged. Impurity isn’t just bad to him, it starts off as nearly catastrophic. As he learns to accept his feelings for Hua Cheng though, he starts to come to terms with that side of himself, as hard as it is for him to accept it.

Suddenly this scene (from the clearnoodle translation of the revised) comes to mind:

The whole alcohol scene is easy to play off as a mix of silly virginity joke and desperate need for a diversion, but there’s a lot of good stuff here. The first part clearly shows his stance about cultivation and where his priorities lie (in which absolute celibacy is more important than absolute sobriety). The second part, Hua Cheng’s response, is something like foreshadowing, isn’t it?

“Okay. However, I think that the Tao follows nature, and precepts and abstinences are inconsistent with Taoists’ free nature. What do you think, gege?”

If breaking his cultivation would be like losing a pillar of support, then his ability to rely on Hua Cheng is like adding another impenetrable, immovable, unbreakable pillar of infinite support. If he doesn’t have to worry about losing himself through indulgence becuase of this new immovable pillar….then what’s there to be afraid of? Isn’t he free to explore how he pleases?

If Xie Lian can break his cultivation without breaking his spirit, this symbolizes the ultimate growth and reclamation of power over himself. That’s why Xie Lian’s sexuality is something I think is extremely significant to both him and the story overall. He spends so much time tied down to the expectations he has of himself, but by the end of the novel he really does get literally and figuratively freed from this. Who knew it could all tie back to his virginity! Regardless, let’s take this as a psa that sexual stories are good and deserve to be told just as much as non sexual ones. Xie Lian DESERVES his freaky ghost sex and is in fact an icon of healing and growth for it!

[nalonzooo]

Hi you’re very kind in always answering people with their art questions i appreciate you so much!! I wanted to ask if u have any books/videos that helped you on your art journey? Love your art so much ur an inspiration 😘😘

hi!! this is so nice of you to say and you’re very welcome 🥰 - books and videos under the cut!

videos

what helped me a lot when i started with art is to watch time lapses or draw-with-me sessions so i can kind of copy how artists draw or paint. however it’s "Level Up your Portrait Drawings" by Chris Hong (ETA: sorry the link doesn't seem to be working, so i've included the title of the class) that was like a turning point in how i drew faces. it’s available via membership on skillshare but i think you can sign up for a month free. i can’t recommend it enough! the quality of my portraits changed after this especially with regards to anchor points—i learned how to tweak my art with this video and i do feel it carried over and improved the way i drew very visibly <3

another video i feel created a huge improvement in my drawing is this class by Lexin Yuan (qrbits). this is a lot more rigorous and thorough than the previous one and also included feedback from the artist (!!) and it’s available via subscription to Class101 but lexin has since made a free version on their youtube which i HIGHLY recommend as well (actually i would recommend their entire channel) - from here i learned how to make characters stand and pose properly, i learned to draw from dance videos, i learned about boxes and anatomy in a very approachable way.

another artist i’m subscribed to and whom i enjoy watching draw is likelihoodart. i love looking at their art bc i feel like they have the perfect blend of semi-realism and stylization - plus their OCs are amazing (the general art rule for teeth is don’t fill them out, but i’ve never seen anyone draw teeth a good as them! i mean look at this work in particular). i picked up some rendering styles and tips from watching their draw-with-me videos.

i’m also currently subscribed to Loish’s patreon where she has very useful and in-depth tutorials and guides. she explains it so well and i also see a lot of the artists in their patreon community sharing their improvements and it's SO cool and encouraging. she has accessible tutorials here you can check out :)

books

comic books/graphic novels - i think i mentioned before but when i first started drawing (again, after living artless as a corporate cog), i was in my marvel (mcu//stucky) phase and one of my fav comics back then was matt fraction’s hawkeye. i liked david aja’s style and i would copy entire panels from the comic in ink into my sketchbook. so i would recommend copying whatever art style comic or manga or graphic novel you like into your sketchbook as personal practice (not for public sharing). re-draw your favorite panels! copying directly from the source also helps you figure out how the artist might have drawn their works.

figure drawing by michael hampton - if i were to recommend just one figure drawing/anatomy book to you, it would be this one - this is also a direct recommendation by lexin yuan and i found this book to be easy to follow and the concepts are understandable. i am at heart more of a gesture drawing artist so his emphasis on line of action and dynamism is something i really appreciated.

ART BOOKS! in particular: spider-verse 1 and 2 art books - everyone knows these and for good reason; ami thompson's character expression sheets alone are worth the price. seeing concept art is always very special--you get to read how a team of creatives come up with ideas and you can learn how to incorporate them into your own art. these two are currently my favorite art books, but i also like the art of tangled (glen keane's sketches are in the inside of the covers and that alone made me want to weep they're so beautiful). and sometimes i go into the japanese section of my local bookstore and see what art books they have - i got this one last year which i really enjoyed, and i got a copy of ryoko kui's doodle book for dungeon meshi and i just love it SO much. their character designs are varied and top-notch and it's just so FUN to go through (if you're interested in this, they'll be releasing an english version soon!)

i also draw a lot of inspiration from artists who make and sell zines of their own art or sketches or sketchbooks - some of them even offer it for free! it seems to be a lost art nowadays because people think zines have to be like big collaborative productions, but it can just be a pdf of your sketches. i literally have a page from one of my fav artist's digital zines printed and taped in front of my desk for constant inspiration, and it's just a sketch of theirs. there's nothing quite like seeing an artist's work in zine format <3

my gawd sorry that was so long BUT i hope these are helpful to you in any way!! <3