#and do a lot more world building and general build up

[glorioustidalwavedefendor]

Honestly, sometimes 15 seasons with 20 episodes per season aren't enough to do a lot of growing ...

Becasue no one in the writting room had teh balls to change teh status quo ...

The probelm isn't that seasons are so short now

The problem is that writters can't write

It is a truth generally agnowledge that the average movie needs around 30 minutes to establish plot, characters and world building Hot Fuzz establishes everything you need to know about the movie flawlessly seamlessly and effectively in just under 15 minutes

-> Threfor it is possible if you are a good writter

AMC's the Terror tells a compelling heartwrenching and narratively satisfying story in 10 Episodes a ≈ 45 minutes

and it works

Becasue They aren't fucking around

They don't tell you that realy cool things wil happen in season 2

They just tell their stor and then get the fuck out

And teh thing is

They had plans for a second season

BUT

They didn't lean on it

The approached the project as if they would only get one season

-> Which was what happened

They had ONE chance of telling this story

AND THEY FUCKING DELIVERED

A lot of shows think they are special and if they just leave enough dangling threats and cliffhangers then they will be picked up for a second season

And ususalyl they aren't

Leaving audiences with half a shitty story and a feeling of frustrated disatisfaction that wil make them think twice before they start watching a show that isn't done

Instead with a good story that leaves you hungry for more

As for movies

They are deffinitely to long in a lot of cases

Movies used to be 90 minutes, but since LOTR everyone thinks they have to fill 3 hours and so movies are bloated nightmares full of padding, becasue apparently theses days no one can estabish anything in under an hour ...

we need 15-20 episode seasons again these limited series have the worst pacing in the world and none of the character decisions hold any weight

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[thecurioustale]

First-person stories are a great format that could use an ad council or something!

It's not a point of view that shows up often. I think its minority status has become even more pronounced in recent years, one of the primary victims of the shift from past-tense to present-tense fiction and the rise of second-person "dungeon master" styles of storytelling. But first-person was never the most popular narrative point of view in fiction, as fiction originally evolved around the conceit of the chronicle and was necessarily third-person except insofar as the narrator was involved in the account. The innovation of a first-person fictional story whose narrator is a fictional character and not connected to the author in any way was a real step forward in human storytelling.

Why? Because the first-person point of view is extremely fresh and intimate. The most recent comment in this thread insinuates that first-person stories are "not about you" (second-person ones are), but this is not correct. Second-person stories are to you and for you (with "you" usually being you personally, though cleverer authors can still do characters this way), but there is virtually no overlap between the narrator and you as the reader. They are not "about" "you." The first-person perspective really is, by far, the best-suited perspective for temporarily inhabiting another character. (Second-person is probably the worst point of view for that, so much so that it, to build on what I was just saying in the previous aside, in the hands of able storytellers the second-person is often used as a tool to develop a character purely through indirect means, i.e. "I wonder who this person is that the narrator is speaking to.")

The point the OP is making (in expressing their surprise) is that some people can't do this. They don't "inhabit another character," i.e. experience the world from that character's point of view for a while, when they read a first-person story; rather, they take themselves into that character and make of it a vessel for themselves. It is a failure of imagination and an inability to shed ego and empathize.

And it is apparently pretty common. This is why, after all, video game protagonists are so often blandly generic and sometimes even mute. They are explicitly meant to serve as vessels for the audience rather than as independent characters whom the audience might inhabit. This is done by people who know something of the world of marketability, and who presumably know that there are a lot of people like this out there.

It's very strange to someone like me (and also to the OP, by their reaction). I have no problem at all inhabiting other characters through a first-person point of view without my own self getting in the way of the authenticity of the experience whatsoever. Moreover, I tend not to be very interested in those bland, generic, deliberately blank "vessel" protagonists—like Link or Chrono, etc., where everyone around them is talking all the time, and has strong opinions, etc., even as they themselves never say anything. (You don't see this "silent protagonist" as often in books (as opposed to video games), presumably because it can't be done without trivializing the narrator's status as a character in a way that the medium of video games does not permit due to the primacy of gameplay mechanics in the overall experience.) On the contrary, first-person narratives, for me, tend to be the most effective when the protagonist is strongly characterized, with lots of substance to inhabit.

I'm not sure whether this reflects a fundamental difference in how I visualize and experience stories versus how some other people do it, or if it's a matter of degrees of awareness and control over vs. helplessness against one's own ego.

What I do know is that first-person stories have an acclimatization period for me, at the very beginning. Partly this is because they're so uncommon, but partly it's because they're just so much more raw and vivid by virtue of that first-person perspective. It's very immersive. It also, as a side benefit, cuts through a lot of the intrinsic clunkiness of third-person limited closeups, allowing prose to be more economical and incisive. I'm almost tempted to say that, for the stories which support a first-person point of view, it's objectively the better perspective in cases where a narrative is built around a small number of POV characters (one being ideal). I'm writing such a story myself on the back burners and it stands in impressive contrast, in terms of fluidity and agility, to my third-person work exclusively centered on Cherry in the Galaxy Federal Inaugural Novel.

One thing I will say: We don't put enough thought, I think, into narrative point of view and the verb tenses of the storytelling. All of them are valid; I'm not saying otherwise; but many stories would be better off with a particular combination.

(As far as my editorial opinion goes: Among tenses, past tense is usually best because present tense closes off a lot of narrative flexibility (as the narrator does not know how the story will unfold or end without breaking grammatical logic, and therefore cannot provide any retrospective contextualization or framing). Among perspectives, I think first-person deserves a lot more attention than it gets, and third-person omniscient after that. (Whereas third-person limited and second-person tend to be overused.))

wait do people read first person stories and think they're the ones in the story???

Saw people talking about not liking first person, which is fair, but their reasoning was like "I would not do that" and I don't understand that mindset.

First person stories are still about a character. A character making their own decisions. First person isn't about you???? At least I thought it wasn't. What am I missing? I've always seen first person as just a more in-depth look into a character's mind and stricter POV. Not as a reader stand-in.

[ninjagood4]

— Everything around is somehow distant and… unreal. Like an illusion. And I am just a doll, led by emotions. A doll in a green kimono, which was once worn by a person better than me… — But… you are that person.

9 years — Little Lloyd will appear in several flashbacks, some of the moments we have already seen in the original series and some will be added not to the detriment of the canon of course. A younger Lloyd will also appear in flashbacks, namely at age 4, when the conversation turns to how he was sent to Darkley's Boarding School for Bad Boys and why.

17 years — After Crystalized, the next four years passed quietly. Lloyd tried to build a relationship with Harumi and spent most of his time with her, but it ended miserably for him after only a year of dating, as she was uncomfortable being with him after everything and decided to let go of the past and start life anew. After that, Lloyd started to have a difficult streak in his life, depressions and stresses, and every new loss and emotion only provoked Oni side. Harumi used to help him distract himself from bad emotions, they went on dates, gave gifts and just supported each other, but now she wasn't around. Misako, Wu, the ninja and especially his father helped him to keep his head up, and he did feel better until Master Wu died a year later. Garmadon returned to his lonely life, Misako immersed herself in research, Pixal returned to Cyrus Borg, and the Ninja were about to split up due to evil simply disappearing from the world. But it all ended with Lloyd forbidding the Ninja from splitting up, and due to his fear of becoming evil, he trained the Ninja every day so that they could confront Lloyd's Oni in the future. This split was the last straw for him, causing Lloyd to degenerate and withdraw into himself.

21 years — Although Lloyd trained the ninja, he himself only gave instructions and did not perform any tricks, which he did not even have the strength for over time. Candy and other treats always cheered him up, so Lloyd found solace in eating and watching TV all day, leaving the room only to rudely command the ninja what to do, and then returning to his comfort zone. All this changed Lloyd not only in appearance, but also in moral and combat terms. After two years of such a life, he noticeably gained weight, became very rude, lost his temper at every little thing, and even began to show indifference to friends and the outside world, although he understood that the situation was getting out of control. The ninja tried in every way to captivate him, offered to play outdoors or just chat, but Lloyd felt more vulnerable than ever and perceived this as a threat.

In one moment Agatha and Leo find the Monastery of Spinjitzu in the hopes that the ninja from the book of legends will help save her home from occupation. The ninja decide to do this and convince Lloyd to lead the mission, who treats Agatha with maximum contempt and mistrust, because she reminded him very much of Harumi. When the ninja were traveling on the Bounty at night through the Valley of Mountain Fires in search of Agatha's village, the ship was attacked and eventually the team crashed. This led to Jay and Cole getting lost, Kai, Zane and Nya being captured by bandits, and Lloyd, Agatha and Leo remaining unnoticed near the ship. Lloyd was the only ninja left on this journey, but this time he was absolutely not prepared to fight both physically and mentally. He simply could not imagine that he would ever pick up a weapon again, while the trained ninja were tied in shackles.

Soooo… these are just images for the Wiki infobox, but I thought it would be cool if I showed not only the characters (who I'm currently adapting for the final style of FotP), and also talked a little about the events. I'll do this for each one, since I need to get a lot of images for the pages so that people have a general introduction to the picture, despite the fact that it's still a work in progress. I don't talk about the Wiki now, but want to attract people there when I rewrite the information and put it in order (it's written based on old information, and haven't written about many things yet).

And yes, Future of the Past introduces a timeline of events, and considering that I'm trying to create a kind of fan sequel to the original Ninjago, trying to do it as well as possible, interestingly, and so that it simply evokes nostalgia and warms the soul! Even between the pilot and plot my au there are 12 years, purely symbolically, because the original series itself is that old :) Previously, I even tried to parody the WildBrain style for this, but it turned out to be unrealistic for a comic, so I chose this one. Of course, it doesn't look like what we've seen before, but… why not? “Future of the Past“, because it tells about the future of past. And just… there are many life lessons that I want to bring here, so that this story is not only interesting, but also teaches something.

I'm want to introduce new elements carefully, so that everything harmonizes with each other. In the end, even though Lloyd has changed in appearance, I'll make sure that it's unnoticeable and, on the contrary, dilutes his character. Wu died, but he will appear as a ghost and will help Lloyd (which will only make Lloyd think that he is going crazy (Agatha will not let him do this xD)). The storyline of Nya and Jay will develop brightly, considering that Nya will be in captivity and Jay will be free, which will make them remember how dear they are to each other. Old characters will appear (like Zane's falcon), some designs will reference old ones (like the Bounty), there will be a lot of flashbacks, and most of the new characters' stories will intersect with the events of the pilot season. The events of the Dragons Rising are also taken into account, I just made it so that after the Merger of worlds was created parallel universe, and each of them has a different history (same beginning - different continuation). Damn, I just wanted to create a small text book and abandon it right away, but… love blinded 😂😭

In the future I will create such posts for others, and at the same time will tell their story ^^ Of course, Agatha will be next, considering that she is a new character, I would like to cover her too (well, just take wiki-page one by one and start with my favorites lol)

[fellshish]

genuinely, how do you write for yourself fully?

while i write for myself and post what i want etc. i always get suck on feeling kinda sad afterwards cause i barely get any interactions on tumblr, which i suppose isn’t that bad, but the 50/60 hits on ao3 and only like 5 kudos make me sad. i truly don’t think my writing is awful, like it’s a work in progress especially since english isn’t my native language, but i just always find myself a bit discouraged.

i feel you, anon. it’s rough out there. and it feels so random. like sure i have worked hard on developing my writing the past few years and on kind of building an audience, but i recognise there was also a whole lot of luck involved and i still remember what it was like to receive very little kudos and feeling sad and discouraged. (i will say the feelings of self doubt etc might never fully leave, but that’s a different matter altogether).

i’ll say this: ‘write for yourself’ as a slogan is an empty one if you fully think about it. the only person who truly writes for themself is the one who never publishes (and even they might entertain some kafka fantasies of being discovered after death). the core of ‘write for yourself’ however holds some truth: if you get joy from the act of writing more than the act of receiving positive feedback, you are invincible. if you write what you want to read, and you can look back on your progress? that’s a reason to be proud of yourself, no matter how much engagement you got. you created something out of nothing, you put something out in the world that nobody had put out there before. amazing, right?

but this is fandom. it’s all about engaging, and i don’t mean that in an annoying content creatory way but as a way of human connection. a part of the joy of sharing your art, for free, is making that connection. getting that comment, that kind tumblr reblog. it’s not shameful to admit you like compliments. every fanfic author has a praise kink.

both are true: we write for ourselves and for others. we live in a society etc

now that that’s out of the way, here are my thoughts on getting more readers, more comments, more kudos, and more reblogs — which i think is the core issue of your ask.

to start quite generally: there’s been a decline in reblogging fanworks - including fics - on tumblr, and i think we bear a collective responsibility here to make this a reblogging website again.

and of course your ao3 statistics depend on how big your fandom (still) is. on how good you tag your works, too, because that’s how a lot of readers find fics. on how good a summary you write, on how popular certain tropes or pairings are that you’re into, if you use a sufficient amount of paragraphs for easier reading etc.

also, you say your native language isn’t english? neither is mine. i found it helpful to work with beta readers, some of whom have now become close friends. they improved my english and the content of my fics, and we boost each other’s works. win-win.

i’ll give you the advice i was given a few fandoms ago: engage, too. by leaving comments on other writers’ works, you can build friendships and might get them to click your ao3 name too. by joining discords and reading the fics of the writers there, or by reading a tumblrina’s fic and reblogging it with kind tags, or by signing up for a bang, by writing holiday themed fics if that inspires you, or a fic inspired by an artwork, … basically, by engaging in fandom and making friends and having fun, but also: leaving comments will sometimes mean getting comments in return, too.

to be clear i’m not saying ‘engage with other fans to get comments’. no. engage to experience the absolute joy of fandom, and more kudos / comments / reblogs etc might become a fun side effect.

[lunadreamscaper]

i miss making comics.

VenturianTale fancomics specifically.

especially since now i have a better understanding of what i'm doing and learned more, i just havent gotten an opportunity to use those skills yet. (im still in all the planning/writing phases of my comics)

most of my old comics didnt have a lot space for background, to help with the settings. it was more focused on the characters and their dialogue, whivh isnt bad but like you know... setting is important, ya know? also i enjoy setting/background, even tho it's difficult and not something im super skilled at but like? thats okay. gotta learn some how.

also a lot of my old comic pages were very compact and had a lot of panels, since i was trying to fit a lot in each page. but like, you dont gotta do that.

you should take your time building up to what you want, and show off your story telling through your art as well and not entirely rely on dialogue

comic making is a form of story telling. which layout, paneling and colors, speech bubbles and text. not just the characters and their dialogue :3

[ace-of-bass]

I think that not seeing the differences also makes it harder to talk to people of differing opinions to yours and potentially change their minds. I grew up conservative in the Obama years, and didn't think of myself as racist and didn't explicitly hate people of other races (yes implicit racism is a thing, but that's a different topic). If someone called me a white nationalist or a fascist because I was a conservative, I would simply think "oh, they don't know what they're talking about" and not take them seriously. I changed my beliefs because of long conversations with friends that took me seriously and worked to understand what my beliefs actually were - as well as a few online posts and books that constructed actual arguments against conservative beliefs instead of just calling said beliefs a pejorative.

Also, not seeing the differences in belief makes it difficult to see where people of differing opinions from you might be similar. As I said, I grew up conservative, but then I had a brief libertarian phase around my freshman year of college. I'm now an anarchist, and I think that falling in that particular flavor of leftism has a lot to do with my deeply held belief in small government - I don't think that I could be a capital-C Communist because of it. To me, the key thing to get libertarians to adopt an anarchist perspective (even if they would never call themselves anarchists) is to say, "well yeah the government should fuck off but shouldn't we help one another?" Particularly if they're Christian they are probably already familiar with ministries engaging in mutual aid (along with a whole lot of charity ministry). I have a much easier time talking to libertarians about my political views than I do talking to MAGA conservatives (who I generally avoid because I honestly don't know how to talk to). But if I saw all people who aren't leftists as the same, then it would be much more difficult for me both to get people to start building an anarchist world (regardless of label), and more difficult for me to interact with people in my life that have different views.

I think that one of the most common and most harmful tendencies which a lot of people fall into when thinking about politics is outgroup homogeneity, the idea that there's a much wider diversity of opinions among those close to our beliefs than there is among those far from our beliefs.

This is most commonly exemplified by the foolishness of "horseshoe theory," which places Centrist Liberal Democracy in the middle of all political thought and then argues that the various ideas diverging from this viewpoint are all basically the same. But virtually every ideological tendency has their own versions of this. Large portions of the right think that there's practically no difference between Hillary Clinton and Karl Marx. Meanwhile, on the left, there's often very little effort made to distinguish center-right liberal democrats, conservatives, libertarians, and reactionaries from one another.

But fascism is not communism, social liberalism is not Marxism, and conservatism is not white nationalism. These are all different ideas with different ways of viewing the world, offering different solutions for different problems. Being able to distinguish between them is very important for understanding the world! The conflicts, tensions, and overlaps between seemingly-allied ideological factions have huge implications!

I've always found a lot of value in the idea of an ideological Turing test: can you describe a given political ideology's viewpoint on an issue in such a way that a neutral observer would have trouble telling the difference between your description and one offered by an actual believer in that ideology? If not, you might not understand that ideology as well as you think

[kagooleo]

my WIPs are so unorganized but rice is forever, in doodles and Even when coding >:]

[puppppppppy]

Atla live action 😐

[mixupmycota]

staring at a tag on a post and just mentally reaching for a whiskey bottle

[mysaldate]

Doesn't that sort of make sense though? Why would the characters make a big deal out of it if it's normal for them? It's kind of an issue I have with a lot of fantasy series, the characters are all from this world where magic exists but they have to act surprised and clueless about it for the audience's sake? That has always felt cheap and kinda lazy to me. Yes, act like it's normal because it is normal for you. Don't make a big deal out of it and let us figure it out. Yes, you run a risk of a lot of fandom glossing over it but imo, it's much better than breaking character just to coddle your audience.

On your age point... no, that doesn't really work. The game is originally a joseimuke, meaning for working-class women. Just because Aniplex and Disney US decided to dumb everything down for the English release doesn't mean teenagers are suddenly the intended audience. The characters are those ages because that's a popular trope and that's it, they might be 30 or 50 and they wouldn't change because the age label on fictional characters is arbitrary as they are not real. Yes, Disney JP still keeps certain things censored/safe but far less than whatever is going on in the EN release. In a similar vein, the whole "respect women juice" thing was added in the EN release while in JP, it was left at the fact that women are intimidating and more physically imposing which led to Leona and Ruggie trying to appease them even outside of their own culture (we wouldn't exactly call that respect, now would we? We don't say women irl respect men when they go out of their way to appease them because they are physically stronger).

This isn't about whether or not Jack has a knot lol. This is about how many features the characters do have that the fandom just explains away or even straight-up ignores. And it gets worse when it comes to cultures. The hyenas are mistreated in Sunset Savannah because they have a bad reputation (yes, it is a part of what happened with Scar but also for biological reasons) which then leads to them having to scavenge for food and use trickery which furthers the stereotypes even more. Leona's palace guards are all women because lionesses are usually the ones guarding a pride. Leona does roar or growl in the story on multiple occasions (and a roar is even one of his battle lines iirc).

Malleus was literally born from an egg, that's a pretty big thing imo, people even like this, they just don't like thinking about what that might mean for Meleanor. Also, dragon fae only being able to conceive with their true love? That's a pretty huge difference. The fae in general communicating by hisses and chittering noises? Yes, it's a language for them but at the same time, that's a pretty non-human thing to do. And despite Lilia adopting Silver, he never taught him the language so there's a question of whether full-blooded humans can even learn it.

I agree with you that this is a prevalent problem in media, I just don't think twst is as devoid of it as you seem to suggest. Yes, fandom is always there to explore things more and push them to their logical limits and conclusions but, again, I think twst gives us a ton to build off of. It makes sense to me that they don't make a big deal of it, much like they just off-handedly mention other parts of their world that are normal to them but alien to us, simply because it's no big deal or it is common knowledge for them ("By the Seven!" is an easy one. Nobody feels the need to explain it but we all know why that is, another example would include Mozus' off-hand mention of the discrimination against beastmen in the past, and obvsl there are more all over the place).

Anyway, this got long, sorry. I like discussing this sort of thing even if we don't come to an agreement. Personally, I like the way twst does it but I do get why people might want more obvious explanations and followups on things in way that are harder to disregard.

I need. Twisted Beastmen and the like. To be more animalistic. Not necessarily like, physically, I don't meant that in the furry sense. I mean that in the 'they're part animal and it'd not just for show' sense.

I want beastmen with claw like nails. Where the cat-like ones tend to walk on their toes when not wearing shoes because it feels right. Where their eyes and pupils reflect the animals that they're partly of. With fangs and teeth appropriate for their species.

Ruggie making laughing noises at the active prospect of food. Whooping when in a fight and needing backup. Lowing when excited for a fight.

Leona roaring to get the whole dorm's attention. Chuffing in greeting at people he considers part of his pride. (He'll sometimes grunt at Cheka like a mother would to her cubs but will deny it.)

Jack barking at danger to warn others and howling to try and figure out where his pack is (he forgets they can't howl back, but Ruggie will sometimes low at him and Yuu definitely tries to howl back.)

I want to see Azul with the tips of his limbs in human form retain some of his octopus natural ability to camouflage. I want to see his hands always moving, grabbing something, holding something. Azul who might not have bones in human form with how flexible he is??

The tweels who aren't very active naturally during the day but get really hyperactive at night. Who bare their teeth at people when excited.

Che'nya who lounges in the sun on lazy days. Who's great at stretching and popping everywhere in his body if he needs to, to a concerning degree.

GIMME FEY WHO DONT ACT HUMAN

Malleus who snorts smoke when he's angry. Malleus who wear gloves because he got claws. Malleus who has a tail and wings outside of his dragon form sometimes.

Lilia who gets just a bit too excited at the prospect of a fight and spilling blood. Who can recognize a person by the smell of their blood. Who makes inhuman noises when too excited and gives off a very eldritch horror kind of vibe if he lets loose.

Sebek who can be found eating rocks sometimes. Who finds quiet in thunder and lightning. Who can move so smoothly and silently you don't know he's there until he opens his maw. Who has a lot of really sharp teeth for someone with a human mouth.

Just- gimme some animal, like, REALISM. PLEASE.

[0fps]

really loving wuwa so far, it still lags a bit here and there but it kinda feels like it just has to marinate for a while? first 10 minutes are painful but after it seems like it has its assets cached or something and it isn't as much a problem anymore. it also looks like kuro games has been working overtime putting in patch fixes asfdjlkadfsj god speed to the devs fr

[gibbearish]

dont starve is kicking my ass btw

[thepandalion]

I have a fic idea and I dont know if I want to write it or not send help

[termagax]

sighs. yk i dont think it was anything they were ever planning on but i do think they would at least have had a conversation like "do you ever think about getting married" and i wonder how that would go for them

[captain-ultimat-doggo]

Humans entering space and realizing we are so small. We are mice compared to these giant races with their advanced machinery and technologies and experiences beyond us- except that we're humans. And our engineers dive into the new tech and once we learn the principles we also soon realize how Inefficient everything is. Their "microchips" are the size of cars, their storage drives are basically buildings, and they somehow store less data than ours. So, human companies take advantage, and tech starts rolling out. Massive and there's a lot of wasted space so that it can be managed with larger hands/pincers/claws/tentacles, but also so much more efficient than anything the galaxy has seen before.

Human technicians start hopping ships and upkeeping the general maintenance, the stuff that most aliens put off or don't notice because they never access the crevices of their ships. As human companies become more popular and lead the tech world in everything from warp cores to game stations ("it's so compact! How are the graphics so good?" Says a 60' tall grimbleback, holding a new VR headset that has all of its components included because it's so BIG by our tech standards), soon many things have accessibility ports for humans to be able to use as well. This means that these shiprats hoping ship to ship cause such a huge improvement in everything running smoothly, and there's a huge downtick in pests on ships because those "pests" are not only big enough and aggressive enough to bite a pitbull or a person in half, they're invasive to so many planets and humans hate nothing more than dog killing planet overrunning monsters.

All the while, from the Aliens perspective, humans are an elusive race that don't fraternize much with them. You almost never see a human as most places aren't exactly safe for the little things to run around in. They do export so much stuff though, and the custodial staff at the Central Galactic Outpost insists that there's more humans around than any other race if you just know where to look.

And sure it's somewhat known that some of the little daredevils hop ships and help out in exchange for room and board, usually without permission, but that can't be that common, can it?

Maybe your ship is running better this cycle ever since you stopped at the last station, that just means that tuneup was better than you thought. And maybe for some reason that program you were working on last night is finished when you wake up, but you're so tired maybe you finished it before you passed out. Somehow that faulty light in the galley has fixed itself as well, which is odd, but maybe the Engineer finally got to it. You'd know if there was someone else on your ship.

Right?

... You leave a little bowl of berries out as a thank you, just in case. You're not sure what humans like but you've heard they have a sweet tooth.