#analysed book

[mysweettaylor]

[vtkuu]

Alex Hirsch on writing Bill's unreliable narrator perspective:

"I sort of leave it to the reader to try to pick through what is a lie what is true, and more interestingly, what is something that Bill says that's a lie literally, but is a truth metaphorically?

I think sociopaths, cult leaders— they're such narcissists that they often tell on themselves, even when they're trying to pull the wool over your eyes, they can't help it. They'll kind of admit to something they've done, because they sort of want the credit, then they'll create plausible deniability and act like it never happened.

You know, Robert Durst, the rich serial killer lunatic […] he got away with three murders, and he would have gone to his grave with those three murders. But they made a documentary and they said, "can we interview you?" And he's like, "of course you can, you need to hear my side of the story!" Because he's so convinced that he's a genius, he can't help himself. They say that murderers often return to the scene of the crime, well, that's a crazy thing to do. But there's this ego involved. So, a character like Bill is going to deny a hundred things while kind of hiding a confession inside those denials. And that seemed interesting to me to explore."

~ Full interview with the Syosset Public Library here.

[moonsun2010]

16 May - The weird sisters are here!

these are part of an animatic summarising Dracula, which you can watch here (new readers beware; it has spoilers for the entire book!)

[calmlb]

It’s been clear that the Tanizakis aren’t siblings from the very beginning

here’s some evidence now that it’s been confirmed canon…

everyone who’s read irl Tanizaki’s book knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

BUT just because the Tanizakis aren’t siblings doesn’t mean you can’t feel uncomfortable about them. if you feel uncomfortable, GOOD. that’s exactly what they want

the Tanizakis, Mori— they all use these disturbing ruses to disarm or distract people in order to protect themselves, or to accomplish their goals. this is a writing device that asagiri commonly employs as a way to parallel the irl literature (it’s actually ingenious)

there are 4 main indicators that have always made it clear to me that Junichiro & Naomi are not siblings:

1. most obviously— their character designs. Harukawa is extremely intentional with character designs, & she very intentionally made Naomi & Junichiro look nothing alike

their eye shapes are purposely different

their color palettes are contrasting

even their differing styles of clothing have meaning

this was all done so that the audience could PLAINLY see that they’re not related— so that WE know that they’re lying when they say they ARE related

2. how the people around them respond to their act.

the general reaction is “don’t question it”— which is exactly what they want. “be distracted by how uncomfortable you feel so that you look away from what we’re hiding” (this is likely a protective measure)

3. most importantly, this is meant to parallel irl Tanizaki’s book “Naomi,” where the main character Joji picks up Naomi to raise her into his ideal woman, but since she's so young (& a minor) they call each other cousins (Joji makes no sexual advances on young Naomi btw)

however, his plan backfires because when Naomi gets older & they get married, she flips the script on him & manipulates HIM so that he's under her thumb (which is why bsd Tanizaki is at a domineering Naomi's mercy). Joji let her have her way because of his masochistic tendencies

4. lastly is the emphasis that Asagiri and the Tanizakis themselves put on calling each other siblings.

over & over, it’s “my brother this” & “my sister that”

like they’re desperately trying to convince us that it’s true (“don’t let your lying eyes deceive you”)

here are just a few of many examples from the light novels…

again, if you’ve read “Naomi” you knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

just like if you’ve read irl Mori’s works, it’s clear that bsd Mori isn’t a pedophile

just like if you’ve read No Longer Human you know that Dazai’s an unreliable narrator. he makes you think he’s a bad person bc he believes he’s a bad person, but those around him see him differently (btw this doesn’t mean he’s never done anything “bad,” though bsd isn’t about morality— but that’s another discussion)

anyway, i’m so excited for the Tanizakis backstory to be revealed so that we can better understand why they use this defense!!

also let this be a reminder to READ THE LITERATURE if you’re able to!! even reading synopses & analyses of the coordinating books makes bsd make much more sense 🥹

reminder that this how you’re supposed to react while reading bsd:

also, if you’re interested in a post explaining how Mori isn’t a pedo, i wrote this analysis on twt. OR you can read this document that one of my moots sent me (remember: analyzing a character does NOT mean you condone any actions they may or may not commit!)

[lizardson]

I understand people who hate lirin (he is a very frustrating character) but I also think they tend to ignore that he spent years believing he killed both his sons because he refused to give in to roshone. The way he treats kaladin is awful, but it comes from a place of intense shame and regret, not a place of judgement. When he tells kal that he should've obeyed and proven himself to his masters instead of fighting against them, he says it because that's what he wished he had done. Lirin in RoW is not the same person from the WoK flashbacks and his extreme and irrational moral rigidity is the result of trauma and grief, not just "he's a surgeon so he thinks killing is bad."

TLDR lirin is more complex than people give him credit for and also your son miraculously returning from the dead doesn't negate believing for years that you killed him by having the audacity to fight against your oppressors. thank you for coming to my ted talk

[weaponizedducks]

you know what i think kids/teen books do 'fantasy romance/fantasy books' way better than any of the adult fantasy books booktok raves about. i try and read some of them and 90 percent of the time its just smut and abusive relationships disguised as 'dark romance'. then i read books like Keeper Of The Lost Cities, The School for Good and Evil, Percy Jackson, Land of Stories, the Nevermoor series, that kind of thing, and they are all actually so amazing because they have fleshed out characters with flaws and an engaging plotline instead of just badly written romance. and when they do have romance it's well written and about the people rather than the tropes.

[fumifooms]

Dad always said I was like him

Meijack and Chilchuck Tims Dungeon Meshi, Ryoko Kui

^ 1: Moony moonless sky, Fatima Aamer Bilal / 2: Bug like an angel, Mitski / 3: Woodtangle, Mary Ruefle / 4: The Third Hour of the Night, Frank Bidart / 5 & 6: FROM THE MAKERS OF "TWO-MOM ENERGY DRINK," IT'S "LET YOUR FATHER DIE ENERGY DRINK,", Daniel Lavery & Cecilia Corrigan / 7: Batman: Year Three (1989) / 8 & 9 : FROM THE MAKERS OF […], Daniel Lavery & Cecilia Corrigan / 10: Wilt, CJ the X / 11: How Do We Forgive Our Fathers, Dick Lourie / 12: Milk and honey, Rupi Kaur / 13: And My Father's Love Was Nothing Next To God's Will, Amatullah Bourdon / 14: Moony moonless sky, Fatima Aamer Bilal / 15: Someday I’ll Love Ocean Vuong, Ocean Vuong / 16: untitled, Joan Tierney v 17: Drunk, The Living Tombstone / 18: unknown

When your father tried his best to provide for you but he worked all the time and even when he was home he was either tired or stressed and he’s always liked to get drunk to relax and cheer up. When you know he values work ethics and respectability so you grew up to be capable and quiet. And when he says you’re like him you’re sort of puzzled, does he really know you so little, or does he know himself so little? But you like the feeling of your father ruffling your hair so you accept it, and still you stand next to your mother just as silent and just as stoic as her during family gatherings. He leaves again and again and when your mother leaves him nothing changes, really. You wonder if it’s more telling that you know him better than he seems to himself or that you don’t know him as much as you wish you did, or that you don’t think about him all that much these days. Out of sight, out of mind. And he’s never really been there, even when he was there, after all.

[vaxxman]

What do you think about 5cp TF2 map Gullywash?

Getting autobalanced on Gullywash feels especially tragic.

More sketches and more impressions under the cut.

In order to draw this, I watched some highlander matches on Gullywash, due to finding no matches in competitive, and the aimbots going rampant in casual. I was only able to play 5 proper matches on casual, (2 of which my teams won purely due to team imbalance,) so some of this is based on what I saw other people were doing in competitive match recordings, as well as how it feels to play on community servers with AI train bots. No one was playing whenever I was queueing up :(

I learnt very fast that Gullywash is one of these maps where you will die a lot, or steamroll the capture points, and there is no in-between, because you either position yourself correctly or you don't. While this goes for every map in tf2, I never really felt frustrated when dying here. I could always find a reason for my mistakes and generally it turned out to be a very rewarding learning experience.

I think Gullywash is extremely fun and fast paced. I especially enjoy giving scouts and pyros overheal buffs, because of how much flanking you can do here. The symmetry of the map is immaculate and the amount of objects that just lie around allows demos to place a lot of traps and players to just hide in corners.

(Using Scouts as your Uber Driver here is also especially fun, so many near death situations!)

For some reason, the soldiers and demos who play on this map are really good at protecting medics? That's the impression I got, everyone knew when to retreat and not push, everyone turned around when they saw my health go down, everyone was shooting the spies for me when we were in the open and I was too focused with healing the people fighting death matches at the front so we could capture.

(My personal heroes who just rocket jump over to you just to shoot the spy 2m away from you, and then just rocket jump away again)

Snipers aren't much of a problem, since there are so many options for hiding properly while still being able to reach your team mates. The same sadly doesn't apply to spies and I think I have died more to spies on this maps than to sticky traps.

While I love the vaccinator, I think Stock and Kritz are the better options on this map. Nothing cries geneva convention war crime more than entering the door to the last capture point and ubering a soldier who starts spamming everyone with rockets in this rather crammed up room where everything can give you splash damage.

Shoutout to a pyro called Joey who carried the last game I played, it was a blast ubering you through the last capture point.

[gandalfsbongwater]

Alex is just playing with us at this point. The capitals in the bio of the damn lofi compilation says Free Me

They’re making Bill listen to Mabel’s lofi beats in the Theraprism

[hrrystylesbookclub]

here’s the thing:

sejanus thinks he’s in a situationship with coriolanus (he’s not), meanwhile coriolanus IS in a situationship with lucy gray. sejanus knows about the snowbaird situationship but he’s all ‘i know im not your only / but at least im one / i heard a little love is better than none’ except he ISNT ‘one’

[ogsherlockholmes]

Modern version of The Hound of the Baskervilles where Watson is texting Holmes all the details and Holmes gets discovered when he forgets to put his phone on silent.

Watson is walking through the moors with Sir Henry and tells Holmes they’re following the convict, then you hear that loud ticking clock notification followed by Holmes saying shit and scrambling down from the hill.

[rookflower]

on one hand yeah this is the kitty cat book fandom where at least 95% of the people here are just here to draw funny cats or for nostalgia reasons and it's really not that deep, there is nothing wrong with taking a critical backseat on this one. but on the other, the amount of people in the fandom who seem to genuinely believe that children's literature and xenofiction are both somehow inherently unworthy of any form of criticism whatsoever, to the point where random tumblr posts casually identifying shit like.... themes.... and narrative trends... is looking into things way too deeply and makes you a bad or stupid person in some way because "they're just cats", gives the literature student in me such a headache

[monstrousmuse]

GUYS, YOU KNOW WHAT TO DO!

[fictionadventurer]

I'm fascinated by the ways in which the things a creator is good at making don't necessarily line up with the kind of art that they respect or even enjoy.

This has haunted me ever since I saw a Youtube video about the downfall of The Band Perry, a country band that I had liked until their music got weird and they kind of fell off the face of the earth. Well, it turns out that they tried to reinvent their image and their style of music several times before the band finally fell apart. When they started, they had this weird Southern Gothic homeschooler style that really worked for them and was reasonably popular, but then they tried to switch to a cooler type of pop music--a style they supposedly admired and enjoyed--and it just did not work at all. They failed because they chased what they wanted to make instead of sticking with the style that they were good at.

It's a tension that's present in all creative work. At one point does "going outside the box" go too far? Can one be happy making good work even if it's not the kind of stuff they like or admire? Are the techniques and styles that are most appealing to us appealing because they're things that we can't create ourselves? As in, our minds don't work that way, so seeing these things from other creators is exciting, but the fact that our minds don't work that way is exactly why we can't imitate those things. Where's the line between creative integrity--pushing yourself to make better things--and pride--wanting to make something more prestigious and impressive instead of humbly making the type of art you're best suited to make? Can one even clearly see what they're best at making, and appreciate the good that's there rather than chasing after styles and techniques that seem better? There are no solid answers, which is why I'm going to be endlessly thinking about this.

[ashertickler]

aaron and smartass.

enemies to lovers.

i'm talking office tensions, forced proximity, interpersonal standoffs, and miscommunication

JUST SAYING. THAT WOULD BE DEVOURED BY ME AND MY FELLOW AARON STANS... NEED IT SO BADLY... UGH GIMME IT FIC WRITERS PLSSS

[whattraintracks]

I kinda feel we didn’t much of raph and splinter’s relationship in 03 thoughts?

Hmm, I suppose that's fair. I've heard it said that 03 isn't a very character-driven story, and I agree we don't see as many character dynamics or arcs explored as we could have.

Below the cut are the pieces of Raph and Splinter's relationship I've pieced together for myself.

Splinter's bio on Raph in Tales from the Sewer presents this interesting duality in Splinter's perception of him. He's a difficult child but just a kid. He trains the most but he's a difficult student. He makes poor decisions but Splinter has the utmost faith in his abilities. As both father and teacher, Splinter sometimes struggles to approach his sons and their needs in the appropriate role, especially when it comes to Raph.

For example, his hands-off approach to Raph's rage, or what I usually think of as emotional dysregulation (either as a product of neurodivergence or his young age). When Raph nearly maims Mikey during a rage attack/dissociative episode (see S1E4 "Meet Casey Jones") Splinter doesn't try to stop Raph or separate him and Mikey, although he very well could have. He doesn't step in until after Leo and Donny have broken up the fight. Despite addressing Raph parentally, he comes at the issue like a teacher offering those ninja master-esque nuggets of wisdom about rage being a monster and a true warrior is balanced in all things. I think he wants to come across sympathetically (gentle voice, physical contact, calling Raph "my son") but there is a sense of disappointment and unmet expectations in what he says.

In the aforementioned bio, Splinter notes that of all the turtles, Raph trains the longest and hardest. He likely equates length of training with dedication to ninjutsu and assumes that because Raph exhibits these things he should be something he isn't: more disciplined less angry. Perhaps he compares Raph to Leo who apparently trains less but fits Splinter's prototype of a good ninja. Speaking of Leo, later in the same episode we see Splinter chastise Mikey and Donny for interrupting Leo's practice and tell Leo to keep practicing his split kick without offering any advice on how to get it right.

We see this idea directed to Raph in Splinter's comment about a true warrior finding balance in all things. It's not particularly informative. This is his version of telling Raph to keep practicing but it's not what Raph needs at this moment, hot off such an overwhelming experience. So instead of reading this as the patient, parental advice I think Splinter intends it to be, Raph's body language screams chastised. He doesn't meet Splinter's eyes and he runs away. Raph (like all of the brothers) wants Splinter's approval and he's devastated to have fallen short in this instance. Then Splinter doesn't let Mikey follow after Raph. And yeah, Raph likely needed that space but it's this hands-off approach, again. Another example comes from the one of Raph's diary entries in the Raphael: Collector Book. He talks about Splinter assigning him more meditation exercises to help him control his emotions and temper. Perhaps training, space, meditation, and nuggets of wisdom are effective tools for Splinter to self-regulate his emotions, but Splinter is also an adult. Raph needs more guidance and practical advice at this point in his life that Splinter isn't providing. The tools aren't enough, he needs to be taught how to use them.

So. Raph responds in a couple ways to Splinter's hands-off, more-teacher-than-father approach. The first is to train harder, and longer, and learn everything he can about ninjutsu. If Master Splinter says becoming a true warrior will help him find emotional balance then he's going to try his hardest to become one. When he meets Casey, he shares with him verbatim the true warrior line but confesses to Casey he's not sure how hot-heads like them are supposed to do that. He still takes the advice to heart even if it's not helpful or he doesn't understand it because he wants to please and obey his father. The collector's book shows us that Raph has taken the time to learn aspects of ninjutsu that are confusing, uninteresting, and even inaccessible to him. This book contains a lot of technical information about ninjutsu techniques and teachings. It presents Raph as even more of ninja nerd than Leo! Some of this stuff appeals to his interests, for sure; the different punching techniques for instance. Some of it, he seems to have only learned to gain Splinter's approval. He has a detailed spread on hand signs that he explicitly finds too mystical and confusing, claims it took forever to learn, and he can't even use it as a three-fingered being, but he hopes Splinter will be impressed with him.

Second, he goes behind Splinter's back. If there's something he wants or needs and he thinks Splinter won't approve of it, he'll take it for himself. Such as going to the surface when he needs space or bringing his brothers to the surface when he thinks there's something important they need to do. This feels, to me, like access thievery, which is the concept (typically applied to disabled/neurodivergent folks) of taking what one needs (time, space, resources) without asking for permission or waiting to be offered it (because you likely won't be). Again in the collector's book, Raph exhibits an awareness of his faults and a self-compassionate recognition that he's just a teen. Splinter know this too but has shown that he can't always offer what Raph needs or won't give him it in some cases (forbids them from going to the surface). So Raph has developed a willingness to take what he needs for himself and sneak around Splinter to avoid the disapproval he fears.

All that aside, I think they're very similar in their fierce love and devotion to family and the ways it can drive them to anger, fear, hatred, and vengeance. There are traits Raph inherited from Splinter they bond over, too. They're both competitive. The Battle Nexus Tournament isn't their thing but we see them playing pokey in "Dragons Rising." I love the idea that they play a lot of games together! They have a similar sense of humility. They know they're skilled but they're more likely hang back and play support while their other family members take the spotlight than boast. Unless it's really personal, then they'll take over, like how Splinter's quest for vengeance guides them in Exodus and Raph's desire to help Casey leads the brothers to sneak out with him in "Meet Casey Jones." I think, they have a similar sense of humor, too. Raph has this silly line in the collector's book about Splinter being proud he used his head, that is, like a battering ram, and you cannot tell me Splinter wouldn't chuckle at that.