#and even in some failed story beats I can TELL what the writers wanted to do but its like they were shot down

[audliminal]

It's Just a Game, Right? Pt 6

Masterpost

"I'm telling you, Fenton!" Wes announces. "I'm onto you." A few of the kids walking past snicker at them, as Danny does his best to look confused. The startled part is easy; Wes is turning out to be a surprisingly good actor. He's been gradually leaning even harder to the image of a conspiracy nut, and the result is impressive. Danny, on the other hand, is simply trying to keep up with the insanity.

"I have literally no clue what you're talking about, dude." Danny says, attempting to push past Wes, so he can enter their classroom. Wes doesn't seem inclined to let this confrontation end, though.

"You may have everybody else fooled, but I know the truth. You made a pact with the so-called ghosts and their efforts to take over our world. You're just manipulating your parents' tech in order to convince everyone that they actually are ghosts, and not the invading fae army they really are!"

"Dude, what?" Danny responds, not quite able to hold back the laugh.

"Honestly, Wes, don't you have any common sense?" Star asks, as she walks up. "Rumor has it that Fenton's failing like half his classes, and you think a bunch of fae lords, or whatever would trust him to help their scheme? Surely they'd choose someone more competent." She flips her hair, and then walks past the both of them, as a couple of the kids nearest to them start snickering.

Outwardly, Danny winces and hunches in on himself a little more, as he takes the opening Star just created and ducks into the classroom after her.

In hallway outside, Danny catches Wes muttering to himself before following them in. No one says anything for a minute, but the moment the bell rings and Mr Lancer shuts the door, Star turns to Wes.

"I think you should be a writer or something after we get out of here." Star tells him. "That theory was honestly inspired."

"It gets even better. I have so much evidence to force on you guys, it'll be great." Wes answers, then turns to Danny. "You good? I know we don't mean any of it, but it's still gotta suck to have us acting like assholes all the time."

"I mean," Danny hums. "I'm not gonna say it's fun? But like honestly compared to everything else, dissing my work kinda seems..."

"Banal?" Sam offers.

"Yeah, sure, that." Danny nods. "Like, compared to people wanting me dead, who cares, I guess."

"Yikes," Kwan mutters. "Your life is a fucking mess, dude."

"Well, i do have some good news about that." Tucker announces, turning his computer to face everyone else. "Looks like the fanbase is making some progress towards finding the real stuff.

Danny stares at the reddit thread Tucker is on. He's honestly been only loosely paying attention to the actual stuff Tucker and Wes have been posting. He's happy to offer his knowledge of space stuff, or engineering, but the intricacies of secret code aren't really something he ever pursued. Well, except for the secret language he and Tucker had made as kids. Wes, on the other hand, peers at the screen and lets out a soft whoop.

"Hell yeah! They found the second layer!"

"Yeah. Which means they've found our first plea for help."

"Oh, wow," Sam says sardonically. "A plea for help that's so great. Why are they gonna think it's anything other than another part of the damn story."

"Chill out, Sam," Tucker responds. "The point is to encourage them to look harder. And once they find the next level, they'll start finding our info on the infinite realms."

"Whatever," Sam says, frowning. "I just... Don't like how much waiting this involves."

"Yeah it would be a lot easier if we could just, like, beat them up and call it good," Dash agrees. "But, like, jail would probably suck."

"At least they're making progress," Danny points out. "I don't really get how you guys are making these layers, but. It's more progress than anything else we've tried."

"Yeah, but like, what does this mean for us?"

"Why not interact directly with that post?"

"Maybe. We'd have to be extra careful about what and how we say it, so they don't write us off as a copycat or anything, but it could serve to reinforce, uh-" Wes leans in, to read the username. "BenBlues379's theory."

"Okay then, let's draft a reply." Danny zones out as they start to discuss the specifics. He hadn't actually had to go deal with any ghosts last night, but his parents had been working on some new invention, and the noise of their trials had made sure he didn't get much sleep despite the supposed reprieve. Luckily, nobody in this class is going to complain if he takes the opportunity to catch up on the missed shut-eye now, so with one last deep breath, Danny folds himself down onto his and relaxes into sleep, as the sounds of his classmates debating echoes around him.

[miss0atae]

What love can do in Meet You at the Blossom and how it can shape your life (after Ep 3 & 4):

It took me a while to write this post because I changed its title so many times. I wasn't sure I was conveying my thoughts properly. I wanted to write about the healing power of love between Huai En and Xiao Bao, but I had so much to say before so this title didn't work anymore.

[gif by khunkinn] @khunkinn

It's not a coincidence you can find the same pattern in some of the characters from My Stand In and Meet You at the Blossom since they were written by the same writer. Huai En and Ming, both had shitty parenting when they were young and it mostly came from their father. More than Ming, Huai En was shaped by his relationship with his father. His mother and his father were childhood sweetheart who never got the chance to be together because she was taken away by Huai En's uncle and he made her as his concubine. We also learned Huai En was born out of wedlock. His uncle's legitimate wife was jealous and tried to kill Huai En and his mother. His father wanted to save them (mostly his mother I think) but failed and Huai En's mother died trying to save the father. Huai En and his father found a way to escape and he was raised to seek revenge for the death of his mother. However, it didn't make them close. Huai En's father seems to consider that his son is also partly responsible for the death of his mother. It's not yet explain why… but because of his bias Huai En's father unfairly treated his son. In episode 4, Huai En explains to Xiao Bao how his father beat and scold him during his childhood. Huai En had no other choice but to obey him “unconditionally” or he would suffer physical pain. We can also assume he suffered mentally too.

[gif by omgtheregoesthefuckidontgive] @omgtheregoesthefuckidontgive

Huai En has been having recurring nightmares about the mistreatment of his father. He seems to remember vividly trying to avoid falling from a cliff and found no help from his father. Quite the opposite, he was also mocked by his father. It is likely something he had experience while he was young and that became so traumatic that he can't forget it. We could say that Huai En is suffering from post-traumatic stress disorder since this event. A father is supposed to care about his children. That's what we naturally expect from any “good” parents. It's hard to understand why his father thought his son should be responsible for his mother's death. We haven't had enough insight on what his going on in Huai En's father head. However, we know he is very controlling and don't let his son do what he wants in life. Huai En only purpose is to help him get the revenge he wants. Anything outside this is considered useless and unimportant. I don't think Huai En even got the chance to really know what he wants or dreams for outside this purpose. He doesn't get to voice his opinion or to have something just for him. He must live for his father's desire. It was shown during episode 4, when Huai En had a vision of his father telling me:

“Remember, you were born to redeem yourself for your mother’s sake. Don’t harbor unworthy thoughts for anyone of anything. Understand? Don’t even think of trying to escape. No matter where on Earth, you can’t escape from my grasp”.

I’m still trying to wrap my head over this fact. When Huai En told the story of how he was born, his mother was still alive. So I don’t get why his father would be so hard on him when he is supposed to be the love fruit of the love he had for his mother. I wonder if his father is the kind of man who would value his spouse over his child. We know his father has an obsessive love for his mother. It wasn’t just the “I want to avenge her” it feels more like “she was supposed to be mine and I lost her so I will enact my revenge”. Huai En’s father appears to have an overwhelming obsessive desire to possess and protect his lover and he has an inability to accept failure of keeping her alive. It doesn’t matter if to get his revenge he has to hurt his own son. I believe this type of love is the only one Huai En had ever experience so he doesn’t understand it’s not a normal or healthy way of loving someone. He must have avoided to be with anyone because the only love he knows is the one his father has for his mother. Love is a painful affair. It can lead to obsession and physical pain. That’s why he is so startled by Xiao Bao regular love confessions.

[gif by guzhufuren]

Xiao Bao had an entirely different childhood. His parents seem to have a healthy relationship and to love each other. Xiao Bao is their only son so they spoiled him and made sure he had a good life where he wants for nothing. You can see how they care for him and wants him to be happy. Since he was loved and taking care of, Xiao Bao grew up to be a nice person who is not shy to show his love. He never had to experience the “dark side” of love. For him, this is only a positive thing. He is also a very charming man; very genuine so when he fell in love with Huai En, he didn't dither and decided to pursue him. It didn't matter to him if Huai En wasn't the woman he thought he was. As long as there is love, it's enough for him. Compared to what Huai En is used to know about love, Xiao Bao's vision seems quite refreshing. Especially as they are in a time period where queer love was frown upon, Xiao Bao's view of love, gender and norms is fairly modern. He claims he will find a way of making their relationship being accepted by his parents. Why is he not afraid of claiming his love for Huai En, despite him being a man? It's because Xiao Bao is sure of his parents' love for him. This trust exists because he was raised this way.

[gif by guzhufuren] @guzhufuren

Xiao Bao may appear to be a fool, but he is more than what he seems. He isn't a great tactician or a skilled warrior, but he is knowledgeable when it comes to emotions. It was shown when he had a conversation about love and death with Xiao Bao. He admits that humans lives for emotions and desires and that you can be sad when you lose a loved one. However you can't be miserable all your life because of this. This vision of life is in opposition with everything Huai En has been taught from childhood. I would even say he was stunned. Xiao Bao understood that Huai En because of his past can't really understand what love is supposed to be and he is ready to teach him. I think he does have strong feelings for Huai En. He may pout or act silly sometimes, but when Huai En conceded if they were someone he truly wants to love, it would be Xiao Bao, it truly delighted him. He is not the kind of person to sulk for too long. He is so genuine and overjoyed. I'm not going to say it'll be easy for them. Even if Huai En despises his father's love for his mom and really wants to experience a healthy relationship, the way this love shaped his vision of life will have an impact on his relationship with Xiao Bao. You can quite see it when he is adamant about Xiao Bao having “no thought about others” or to never lie to him. This idea that Xiao Bao wants to be with him “forever” and not just be with him, kinda shows that his past will have an impact. However, I believe Xiao Bao's good nature may soften him.

[gif by ruanbaijie] @ruanbaijie

As he said himself to Huai En, his lover is “tough on outside, but soft inside”.

PS: I edited this post with better credits for the gif creators. I tagged all of you, I hope it's alright. If you prefer that I stopped using your gifs, don't hesitate to tell me. I'll do better with the credits on gif from now on.

[suhmingo]

I, uh, don’t know how to actually preface this. It’s really just a mini rant/pseudo-analysis of chapter 167. Which was pretty crazy. But, I loved this chapter, and yes I’m typing this with two hands.

But first let me try and do some housekeeping.

It’s perfectly fine to have an emotional, even visceral reaction to 167. That’s the point

If you feel grossed out, betrayed, unnerved, dumbstruck, or any form of bamboozled by today’s chapter then good! That means the emotional weight of the scene is working, and that you are a proper, feeling human. The

The whole point of fiction is to explore themes that would be difficult, even dangerous to experience from a place of safety. To me that’s, like the entire reason I ever wanted to become a writer, one of the most unsung broke boy jobs in the history of the world. My desire for Denji to get better in a world that is dead set on making him fail is the entire reason I have an emotional investment in the first place. Stories are inherently about conflict and the struggle with resolving conflict, that should make you uncomfortable.

Say what you want about Chainsaw Man. I can take it, I’m a big boy. But one thing that it has always had since Chapter one is a well-defined through line about the complexity of our innate desire to find some type of love fighting against the pain-wrought pathway that it leads us down. In a good story, every chapter should have some way of showing the highs and lows of that theme, and I’m pretty confident when I say that 167 perfectly shows us that.

It’s bad. Don’t let people who brag about their trauma tolerance tell you otherwise. You are well within your right to feel. But I think it would behoove people to 1. Realize that this is fiction, and its effects, though evocatory, are ultimately abstract, and 2. Realize that exploring dark themes allows people, especially a 16-25 (Or whatever the target audience for CSM is) to grapple with and think on human concepts as all encompassing as love.

From a writing standpoint, one chapter has escalated the tension of the entire story more than anything that has happened in Part 2 so far. It’s admittedly a bit early to call it peak. But looking at it as a simple story beat, that’s a fantastic chapter as far as the medium goes.

Listen, the whole point of stories since, like, Mesopotamian times was the tension between wanting a character to achieve happiness vs the hardships and trauma that life happens in life. They’re supposed to put you in a sensitive state emulative of a tense environment. I’d argue that the prevalence of escapist fiction and fandom has changed how we emotionally digest fiction. But that’s a whole nother essay.

The events of 167 aren’t some horny non-sequitur. Everything that happened is entirely a logical, if graven, extension of how we know characters.

Denji is at the lowest point we have ever seen him at. He was literally dismembered and put back together less than 10 chapters ago. The last chapter literally had him groveling on his knees at a cauldron’s brew of his own weakness, immaturity, stupidity, and horniness. I think we can all understand why he would not be in a good mental state to just lose himself in the moment. You can’t even blame Denji in this situation. He was in an entirely vulnerable state that was exploited entirely by

Yoru. Who is the literal embodiment of war. If you think that someone who represents the human fear of war is going to play fair. Turn on the news for five minutes. Yoru is a character we are not supposed to like. She’s fun, because she’s a work of fiction, but she’s arguably less trustworthy than Fami. She’s a violent, exploitative being who possesses a dead teenager. There is no “too far” for her if it’s the fastest way on the road to conquest. Reminder that before she caught feelings, her plan was literally just to castrate Denji because she thought that would further her goals. The fact that it turned into kissing was actually sparing a worse fate. IMO that savior was all in the actions of Asa.

Asa. I genuinely believe that, subconsciously, Asa wanted to kiss Chainsaw Man. Not like how it happened. Never like how it happened, but her desire for Denji/Chainsaw Man's affection has always been evident. She gets irreparably upset when she’s stood up, she makes cringe poetry for Chainsaw Man, and her entire goal as of now is in some misguided desire to make him happy. I also don’t think Asa is actually demisexual, or averse to sex. She is afraid of intimacy, which stops her from ever acting on her urges. Notice that both times Yoru has kissed Denji, it was after the idea of sex and intimacy was explicitly brought to the conversation. To me that screams that Yoru is spurred on by her host’s innate desires. Hell, it’s been shown that in the same way that Yoru has made Asa more proactive of a human being, Asa has made her feel emotions. I don’t think it's a coincidence that Yoru is blushing while kissing Denji. None of that was part of her plan. That’s Asa’s emotional influence getting the better of her in what I predict to be a fantastic role reversal of their initial contract.

This is thematically in line with how Chainsaw Man presents love and sets up deeper themes.



Remember way back in Part One when Denji was just an initial horndog and everybody kinda hated him? I hated Denji back then! When I first heard of Chainsaw Man I genuinely thought it was going to be a mommy-kink fuelled power fantasy. But I was wrong. Wonderfully wrong. Fujimoto used the allure of that idea in Makima to present a story about how dangerous and manipulative the very idea of grooming is, and how damaging that can be to a person. The same way Denji’s desire to get the approval of Makima was poisonous to him is mirrored in his desire for vapid, instantly gratifying sex is being portrayed here. I genuinely think this chapter is going to age like fine wine, and I am absolutely willing to take egg on my face if I’m wrong.

[tobiasdrake]

Here we go, it's Ranma time. Episode 5! The introduction to Ryoga continues.

God, I love how mournfully quiet this is.

This is what happens when women write women. Male writers don't often think about things like just how much a long-haired girl's hair means to her. Akane's been growing that out for years.

Look at how little she was when she started growing her hair. That is the product of years. Many years. Gone in an instant.

But she rolls with the punches. Akane has remarkable emotional fortitude. She'd kind of have to in order to survive all the shit she's had to put up with in her day-to-day life.

I love that they leave so much unstated, yet clearly implied, about the way her long hair relates to her longstanding crush on Dr. Tofu. When she says she wants to grow it out so she can be like Kasumi, there's an implication there that she thinks Dr. Tofu will like her more if she has Kasumi's hairstyle.

She's trying to walk in her big sister's shoes so that the man who likes her big sister might look her way. An idea that was doomed from the moment of its conception. She was never going to beat Kasumi at being Kasumi, and if she has to try, then she's already failed.

The manga's a bit more explicit about this, as Kasumi directly tells Baby Akane that Dr. Tofu won't like her very much if she keeps acting like a boy. From that, she draws the conclusion that having hair like Kasumi will make him like her more. But the reboot anime keeps it implied and understated.

So there's a lot going on here when Akane breaks down and cries into Dr. Tofu's chest. This is the end of an era. The loss of her hair symbolizes the death of a child's dream. The end of her efforts to be more like Kasumi so that this man would like her better, and the beginning of a new era where someone else out there will like her for being Akane.

While also demonstrating how much she leans on and depends on Dr. Tofu as a stabilizing figure in her life. She feels safe enough with him to finally let down her walls and cry out the grief over her lost hair, in a way she doesn't have at school or at home. Ironically mourning the death of her pursuit of him to him.

My dude, you desperately need to get a hobby. Supervillains are more considerate. Giving some real Vegeta energy here, but specifically the TeamFourStar kind.

And also the Tendo home desperately needs to get some door locks because he just strolled right on in here to do this.

And they both get punished for this.

Story of Ranma's life.

Takahashi's comedy remains incredible. Kasumi objects to Akane going out there not because she doesn't think Akane can take the mystery robber but because she wants Akane to hit him with something heavier.

I want that too. So Kasumi and I are on the same page.

She does, too. Nails Ryoga right in the back of the neck with a long-range shotput throw of that fucking barbell. Akane wins Ranma v. Ryoga, Round 2.

The moral of the story is to... not... do... anything that Ryoga did here.

...or, really, anything that Ryoga ever does. Don't be like Ryoga. That's sound life advice. (Not that the rest of the cast is any better.)

Immediately followed by Kasumi with another punchline. Man, I did not remember how funny she is.

Akane's rematch with Ryoga goes super well too. She is on fire.

Sincerely want to know what could possibly have possessed him to think jumping Akane while in piglet form was a good idea.

So begins the saga of P-chan.

AND ALL FOR BREAD AND BREAD-RELATED PRODUCTS

My dude.

The curry bun was not worth it.

Like.

Like. The part where Ranma knocked Ryoga into the piggy spring without noticing and then Genma tried to fucking eat him? Yeah. I can see being homicidally mad about that.

But he didn't even know that was them until literally this scene. Everything up to this point has been Ryoga blaming Ranma because he, Ryoga, stalked Ranma to China to avenge his curry bun.

Speaking of Genma.

I love how he just walks in on his son in girly form having Naked Bath Time with some random boy, and his response is to just... apologize and peace out. Whatever this is, it's none of his business.

Actually, not just any random boy. Specifically the random boy that got Ranma in trouble earlier tonight when he snuck into their bedroom for a late-night call.

Genma definitely thinks these two are up to shenanigans.

Literally the only member of her family that actually objects to Ranma sneaking into Akane's room late at night to do shenanigans to her (read: trying to fucking extract Ryoga from an unsuspecting Akane's bed) is Kasumi. Who merely scolds Ranma for moving too fast.

Is it any wonder she doesn't feel safe being emotionally vulnerable at home?

(Seriously, though, there is so much drama that could be avoided if Ranma would just tell Akane that P-chan is Ryoga. She has a right to know that, and not telling her makes Ranma complicit in Ryoga's shittiness.)

[justminawrites]

None of you understand Amber Bennett: She's just a girl, your honour. A review of the show writers' least favourite love story from Invincible season 1.

Now let me just preface this by saying I have 2 points to make. Just two, very long, super rambly points that does have mild spoilers for Invincible season 2. Read at your own risk.

Point 1: Amber isn't "understanding" enough is utter bullshit.

There’s no indication that civilians outside of the ones associated with the GDA have any idea how brutal fights are for superheroes. Amber quite literally has no idea what the hell Mark is going through, even after the superhero reveal. The only thing she has a smidgeon of understanding of is his dad beating his ass on live TV. And even that is a heavy maybe because we don’t know how much of the fight the cameras could cover and how much was broadcast to the general public. 

Point 2: Amber’s dated Losers before.

This is stated explicitly in canon, she's “been down that road." Furthermore, she’s also the daughter of a single-parent household. She used to hang out a community centre as a kid because her mom did late hours. Daddy Issues anyone? She’s got a lot of her own problems that we never get to unpack or linger on because the writing decided she wasn’t going to end up with Mark. 

What if she’d already dated an absolute bastard before Mark? Someone who seemed sweet and genuine at first, but then he started slacking. He’d be late to dates, stop taking an interest in anything she did, and just never show up for her in any way that mattered. Amber would make up excuses with her friends and family, oh he’s busy, he’s studying; he cares, I swear, he just has a strange way of showing it. 

Her friends and family don’t believe her completely but they humor her because she really seems to like him. And the ex-boyfriend isn’t a douchebag the whole time.. he brings gifts to make up for being late, he plies and pacifies her with honeyed words and promises to be better.

But each time the lies get more and more difficult to believe. Traffic and science projects, traffic and science projects, even when he shows up smelling like weed and alcohol. Her friends and family give her tight-lipped smiles when her ex-boyfriend gives her sloppy kisses and proclaims over and over “She’s too good for me, this one.”

She tries to be empathetic, she tries to be understanding when they’re alone, he can tell her what it is that’s wrong. But every-time she brings up giving them some space, he takes it as an indication of her not believing him and he guilts her with one sob story or another— she knows him, he was so gentle and respectful before they started dating, does she really think he’d do this to her if he didn’t have a good reason? Just a masterclass in gaslighting. So she gives him a second chance, third chance, fourth even. 

But then he begins cheating on her. Whenever she confronts him about it, he plays victim and accuses her of being “crazy” even though the entire school knows otherwise. She catches him one fine day, and dumps him on the spot. For a short while, Amber’s very proud of this but as time passes she starts to feel extremely embarrassed that it took that long for her to catch on. 

No one blames her, of course, but they all say something along the lines of “We never liked him anyway” which makes Amber doubt the perception of him she had. She internalises their support as a failing on her part to be vigilant, she didn’t want to end up making the same mistakes as her mom, after all. 

Amber becomes guarded. She doesn’t entertain male attention (from Todd, for example) but then she finds out resident wimp Mark Grayson takes a beating for her and she feels bad. 

So she gives him a chance. Mark was a nonissue, a nobody with no track record of being amazing or awful, just an in-between, normal guy who was maybe a little soft spoken and needed to stand up for himself more. 

But every time they try to hang out, something comes in between them. The excuses are laughably obvious this time and Amber is caught between trying to understand if Mark Grayson is trying to let her down easy because he’s not interested or if he’s just another douchebag taking her for a ride. 

He leaves her alone during their study date for an hour to do something shady and/or potentially related to Eve (I know she overheard him yelling at Cecil in his bedroom); Mark tells her he’s been to Mount Everest, but can’t tell her How he got there, and leaves on a non-specific trip for two weeks, right after their first date, and can’t even tell her Where he’s going or what he did when he was there?

So she does what she’d wished she’d done in her first relationship, she sets her boundaries. Firmly. She gives Mark multiple chances to come clean when she tells him she’s not riding that wave again. It’s been brought up a few times that Amber has lingering relationship-trauma.

During their study date Amber tells him she’s been in relationships with violent potentially abusive guys (“Met plenty of guys who were willing to throw a punch for me.”); or when he stands her up for the Dinner with her mom she tells him that he needs to make a choice because she’s “Been down this road before, and once was enough.”

But he still keeps at it and she starts getting tired of defending him to her friends and her mom. He’s just busy, he’s just studying; he cares, I swear, he just has a strange way of showing it. And this time they shake their heads and lightly imply that she’s stuck in a pattern. Amber can feel them comparing Mark to her old boyfriend and it all becomes a bit too much. 

Either he’s a no good drug dealing prick or he’s just wasting her time, whatever it is, Amber’s had enough of being left in the dark. 

The soup kitchen is the final straw, but then she finds out that he gets run over by a bus. He actually gets hurt, this is the first time Amber’s seen him hurt, and she feels awful because if she hadn’t pushed him to show up for her again and again maybe he would’ve been more careful. 

He doesn’t let her visit him in the hospital. A hit and run on the wrong side of town was the story this time— he can’t even tell her this, the specifics of his accident! Eve was his first point of contact after his parents?! At this point Amber is convinced that he’s involved in something violent or something to do with Eve, or both and she’s not sure she wants to keep going with this. 

Amber is confused and hurt but she also feels responsible for Mark’s injuries. Maybe she Was too paranoid, maybe she Was projecting all her relationship-trauma on him and he would tell her what happened at his own pace. So she backtracks, gives him another chance.

College is really the best of all worlds, Mark makes her promises that this time will be different, and Amber tentatively agrees to college together. (She’s still stressed out about his injuries and on edge the whole time though and asks if he has a concussion). 

This is really important because Amber ends up at Upstate U later. She decided to go to college with him, basically because of Him. This wasn’t any specific plan she had before, this was her making room in her life for this boy and potentially everything their lives could be together. 

Then the Reanimen Incident happens. And she loses her shit. Mark Grayson is not the flakey but well-intentioned boyfriend she thought he was.. Mark Grayson is not even a good person! He LEFT her and William at the drop of a hat to save his own slimy skin, that bastard! Her intuition was right, she never should’ve given him a chance. 

Amber was no longer going to give Mark Grayson the time of day, much less share a bed with the self-serving jerk; she wouldn’t give him the satisfaction of spinning another tall tale. Or seeing her cry. She closes the door to the shower rooms behind her, and overhears Rick leaving to get them all some beer. Dorm room walls are thin, after all.

Then she hears something else.

“You’re Invincible!” William’s voice carries over excitedly, “And you never told me?”

Here goes the "problematic" bit.

I think Amber was lying when she told Mark she knew he was Invincible weeks ago. Amber didn’t even know who Invincible was until a few minutes after the Reanimen attack. She isn’t acting for anyone around her, she’s genuinely confused when the superhero jets off because she’s never seen him in her life. 

I think she overheard William freaking out about it in the dorm room and she pieced together Mark’s absences with his vague excuses and why couldn’t visit him at the hospital. She takes a shower to cool off but sitting and stewing on all of it just makes her angrier and she decides to go to the frat party just to get away from Mark for a while. 

Now why wouldn’t she just tell him she overheard them talking? 

Amber is an assertive independent character with a lot of pride. And that’s not a bad thing. Amber has a lot to be proud of. She has a strong sense of justice, she doesn’t take crap from anyone and she has too much self-worth to put up with liars. 

You can clearly see this in the way she approaches Mark in the beginning. She asks William if he’s dating Eve, and then instead of calling him herself, she gets Todd to give Mark her number so he can call her if he’s interested, despite the fact that she already is. She has too much pride to chase him. It’s one of her fixed flaws, and it’s consistent to her character. 

So finding out that Mark is actually Invincible almost by accident, is kind of embarrassing for Amber. Not only because she yelled at him for disappearing but for all the times he misled her and lied to her only to actually have a good reason for doing it. There’s a lot of mixed emotions there, shame, guilt, concern. Guilt.

Admitting that she overheard he was Invincible would be like admitting she was a stupid, nagging girlfriend who had no right to be a part of his life (the way the fandom perceives her) so she doesn’t. She tries to distract herself with the party, flirts with someone she just met not ten minutes ago, and feels awful because he immediately drops the girlfriend bomb. 

Now she’s forced to confront the fact that she has a boyfriend, and her flakey, well-intentioned superhero boyfriend is sitting and moping in the dorm room because she doesn’t have the guts to tell him she knows. Because telling him she knows would remove the choice he’d need to make when deciding whether or not he was serious about their relationship.

Amber was serious, Amber was going to change her life and potentially open her future to college with him, but was Mark really sure about Them if he couldn’t even tell her of his own accord? 

Telling him would be like giving him another out. And Amber was done giving him an out. 

When he finally confesses he doesn’t see why she’s mad at him, because he doesn’t see her at all. He can’t even begin to imagine what this roller coaster of a weekend has been for her because she’s been serious about him all this time and it took them breaking up completely for Mark to choose her back in the first place and go all in. 

Now it’s true that Mark is entitled to his secrets but Amber is also entitled to being upset that he can’t tell her 1 solid thing about his life. Not one thing does he trust her enough to explain, and at that point why should they even be dating each other? Why should she change the course of her future for a guy who can’t tell her where he was last weekend?

Then Omni-man beats him up on live TV, and now that she knows that he’s Invincible, she finally gets a glimpse into the bloody, gruesome world that is Mark’s. His Dad isn’t a superhero, his Dad is a Monster, and Mark is discovering this the same time as the rest of the world.

So she freaks out because she cares, and she’s so relieved to see him not beat to a bloody pulp like on TV that she kisses him. She likely had no intention of getting back together with him before that, but world-ending fiascos often come with heightened emotions, and they’re just kids at the end of the day. 

She’s not a manipulative, narcissistic villain, she’s just a proud girl, in love with a boy who can’t decided whether or not he loves her back. 

Now do I think Mark is a terrible jerk who doesn’t deserve Amber? No. I watched Invincible the same way it was intended, almost entirely through Mark’s eyes, and it’s hard to assign blame in this case because we see how horrifying and traumatic being a superhero actually is. But that’s the point, we only see one half of the story. 

We see Amber through Mark’s eyes and in his opinion she could afford to be more compassionate to his excuses the moment she finds out he’s a hero, the way Eve can, but that’s not true at all because Amber has no idea what being a hero is like. Eve does, and that’s the difference that Mark is wilfully blind to. 

But Mark also has no idea what Amber’s life is like and it’s easy to get lost in the sea of all the lives lost and villains fought, that he genuinely hasn’t spent any time with his girlfriend as a person beyond his Girlfriend. Amber isn’t a person to him, like William stopped being eventually; they became sort of tethers to Mark’s humanity, a way to distinguish himself from his Dad. A way to ground him. 

Seriously? When was the last time Mark even talked to William, his once Best Friend? They’re not his Mom, they’re concepts to him. They’re civilians, potential victims he could end up losing if he doesn’t police himself and his powers. Mark slowly becomes disillusioned to his own life as a human, the more the leans into the Viltrumite half of his parentage. 

It’s a little tragic but it’s the story we’re seeing. In season 2, when Mark and Amber break up and he gives up his dream for college, these two things are almost explicitly correlated. Mark is coming to terms with the fact that he’s going to outlive everyone he knows, even his new baby brother and that is just the most chaotic example of a slow-burn trauma if I’ve ever seen one. He’s giving up being human, but maybe not giving up his humanity. 

______________________________________________________________

TLDR: None of you understand Amber Bennett because the writers decided that Mark would outlive her before he ever had the chance to see things from her perspective and I am SALTY about it

[getinthehandbasket]

Cross-disciplinary training for artists

My entire life I thought of myself as a writer. A nearly-failed author, because I had such a hard time writing, but a writer all the same.

I had no framework for writing anything more than drabbles or vignettes. Anything more than 2k fizzled out. Let's not even talk about papers when I was in high school and college. I thought I had to get it all out mostly-perfect all at once, the first time, and that was so overwhelming that I just.. didn't.

No one taught me about stages. No one taught me about outlining, filling in, refining, etc.

About ten years ago I decided I wanted to branch out beyond my fiber arts (a thing which I am good at) and my writing (a thing which I was not good at). I decided to learn how to paint, how to do multimedia art journaling, how to draw, how to do anything as a visual (but not digital) artist because I like making things.

The thing that surprised me the most was this: artists work in layers. The first few - hell, sometimes even the first MANY - layers are foundations. Underpaintings. Sketches. Blobs of color. Things that look nothing like what the final will be. Art is built up in layers, even fiber arts. All art, I have found, is made of layers and stages.

Now I'm back to writing. I write fanfic. I am now writing it using a "layering" strategy.

I laid out a very VERY vague timeline, and a few notes about a couple of scenes that made me want to write the fic to give those scenes a home.

Then I started noting down beats, and assigning them to different spots in my timeline. Now I had an actual outline.

NOW I'm filling in the outline with scenes. They're not necessarily good. Sometimes it's just a sentence or two saying something like "first threesome here" or "X goes to Y's house to hang out - reason??". Sometimes it's a 2k scene where I meant to do one thing and the characters decided to flirt prematurely instead. I'm not even writing in the perspective (or possibly the tense) I plan to use in the final. I'm currently writing everything from a 3rd person present-tense somewhat omnicient POV. The final fic will have first-person probably present-tense limited omniscience POV, bouncing between my MCs as the POV character.

I'm not even calling it my first draft. To keep that pressure off of myself, it's entirely within a "planning document" and I'm informally calling it my 0 Draft. I'm just telling myself the story, and not necessarily in order.

When I'm done with it, I will open up a new document and start retyping everything, editing in the process, rewriting a bunch of stuff, changing to the correct tense/POV, etc. That will be my first draft, because for some reason (*cough* bad English teachers who thought they weren't the ones responsible for teaching their students how to write essays, papers, or anything else, who required us to turn in "first drafts" of our papers basically for copyediting and that's it *cough*) I have it drilled into my head that a First Draft must be complete and ready to be copyedited. A First Draft can be a shitty draft, sure, but in my head it also had to be nearly the final form. So now I'm calling what most people would call their 1st Draft my 0 Draft.

And once I am done with my "1st Draft" (which is really my 2nd), THEN I will retype it one more time to catch any spelling or grammar or plothole mistakes. That's the version I will have betas read for last-minute checks, and that's the version I will post.

TL;DR - setting writing down for a while and learning other artistic disciplines, even if I nowhere near mastered them, has granted me so much insight into a better way to write. It's given me joy instead of anxiety in my most treasured creative hobby.

I'm not even halfway through telling myself the story and I'm already 13.5k in. After cutting some of my darlings out and moving them to a different doc.

"Cross-training" makes everything easier.

[ilovescaredysquirrel2]

The problem with Disney right now...

I know I usually state my opinion on movies I see recently and give reviews but sometimes I give my opinion on movies that are going to come out soon. So, I heard about the unnecessary sequels for Moana and Inside Out, which are great movies but they don't need sequels. In all honesty, after seeing what they did with Wish, I think Disney should take a break on making animated movies for a while! Not forever, just for a short time.

Okay, so I think we all can tell that they used A.I on Wish. It's not the animation and stuff, it's just the story! I even think the songs were written by real people, it's purely the story that feels A.I generated. Watch them use A.I on Moana 2, Inside Out 2, and Frozen 3... oh gosh that would break my heart to se them ruin the sequels with A.I. I don't consider myself a Disney fan, in fact, even as a kid I wasn't a Disney-movie kid, but I did have a Frozen phase back in the day. Every kid had a Frozen phase. Inside Out is okay but it was kind of emotional, but the first Moana was really good. The thing is, Frozen is based off the Snow Queen while Moana and Inside Out aren't based off any fairytales and are Disney's own original ideas for once. Plus, I think they're only making these sequels because their original ideas like StrangeWorld and Wish are failing so they're proffiting off live action remakes and making sequels of already existing characters because they're desperate. They're just so greedy and can't stand to see the competitors, who are smaller animation companies, beat them!

I'm mostly boycotting Disney (and have been ever since I saw Zootopia) but I'll watch Disney movies pirated on free websites like Actvid and Moviesjoy. The only thing I like from 2024 Disney is Kiff! LITERALLY KIFF! KIFF! Of all things, I never thought KIFF would be the only thing that's stopping me from abandoning Disney all together. I don't use Disney plus but the website I watch Kiff on doesn't have the recent episodes and I refuse to get Disney plus. Disney should focus on stuff like Kiff and Phineas & Ferb anyway. The only good show they got on Disney channel now is Bluey and Bluey is NOT EVEN DISNEY! Bluey is an Australian show and should be seen as that, instead of having the greediest corporation in the world act like they own an Aussie show that they didn't have anything to do with. Bluey should be on PBS kids or something, not greedy Disney! Who agrees? I'm American, but If I was in Australia I'd be so mad at Disney. Disney literally censored episodes, removed episodes, and stopped the writers from throwing in a Bible reference... when they weren't even making the show! If I was in charge, Disney Channel/Disney Junior would have shows like Jungle Junction, Phineas & Ferb, Bear in the Big Blue House, Good Luck Charlie, Suite life of Zack & Cody on Deck,... ect. Basically I'd bring back everything except JESSIE because it was racist (R.I.P to Cameron Boyce tho, he wasn't a bad guy he was just on a bad show).

Anyway, Disney is on my last nerve rn, and if it wasn't for Kiff I'd hate it all together. I still do hate Disney but the only thing that keeps me from wanting it to go away is Kiff. If you haven't heard of Kiff, it's a recent show by Disney, about an orange squirrel who's really energetic (and no, she's NOTHING like Scaredy Squirrel). As far as movies go, I know for sure that I will never see another Disney movie in theaters and I encourage you too, as well. They'll end up on Actvid or Moviesjoy before they even end up on Disney plus anyway, because Disey is popular and people care enough to record it off some hidden camera in theaters. I'm not saying you have to follow in my footsteps and boycott Disney, I'm just telling you on how I do it. Like, the day they come out in theaters is the same day they end up on free websites. Plus, you don't have to waste your money if the movie is going to be bad, like how Wish ended up being bad.

So yeah, please share your thoughts! If you're a Disney fan, I'm sorry. You have to know that they've been really shady recently (they always have been shady but particularly now).

[dynared]

Oh boy do I agree with your assessment that Skybound is able to execute its concepts much better than Earthspark! Despite Skybound technically being another G1 continuity, it feels fresh and original and fun, and DWJ has managed to take something old and turn it into something new, an area in which Earthspark failed somewhat. I mean, I respect what they tried to do, but due to so much being told rather than shown (ie, that one moment where Hashtag asked JB if Megatron’s harrowing story of redemption wasn’t the most beautiful thing he had ever heard? really felt like we were being told to like Megatron rather than simply shown a likeable Megatron, compared to those scenes with OP and the deer, OP saving Spike and a bunch of others with the Matrix, and him bonding with Sparkplug. It just feels more organic, ya know? And it lets the viewer form their own opinions without trying to constantly nudge them into thinking a certain way) made watching it very frustrating, and it felt like the writers were trying to tell us what to think about certain characters, and overall just not letting the story breathe and take shape on its own

Maybe it's just the differences between the mediums (namely the issue of budget for a CG show that reuses assets to save money), or maybe it's the quality and styles of the writers (Robert Kirkman and Daniel Warren Johnson are comic writers, first and foremost), but Skybound, throughout all of the Energon Universe, not just Transformers, has been very good at visual storytelling. Seeing reactions to events, having expressions and scenes tell the story in a way that if just described in the text would fall flat on its face, which in turn creates a richer world. Even in a book like the most recent issue of Cobra Commander, where the main battle is a battle of wits and words, the expressions, the surroundings, and the visuals create something that worlds alone, dialogue alone could not convey.

"Show, don't tell" is a basic tenant of writing, one that every writing teacher worth their salt will preach to their students. However, I can only blame so much of that difference on the medium. While Earthspark will never have the visual spectacle of the Skybound comics (there's a reason I want them animated by Studio Trigger) a lot of it is the writers themselves, who really want to beat the morals and messages of the story into your skull without any care for subtlety or nuance, especially Mae Catt, whose rejected script for a Drift episode had him married to Ratchet and debating a spiritual vs. pragmatic viewpoint with all the subtlety of a brick (and considering how badly Nightshade went over to the point the show got put on blast on Fox News, it's no wonder it was turned down and Catt was apparently let go for Season 2).

I'd forgive even that under the idea that it's a show for a much younger audience than the Energon Universe is for, but then you run into the issue of treating kids like morons, which kids hate. Even Marc Summers (host of Double Dare) pointed out on Quiet on the Set that the attraction of Nickelodeon to kids was that it didn't try to educate, talk down to, or preach to kids (which probably explains why he appeared so horrified at Dan Schneider's antics, but that's another story). Although noting that handicap that it's for kids goes back to a more obvious question, why would kids be invested in what's essentially a pseudo-sequel to a cartoon that ended its initial run of episodes in 1988, before some of their parents were even born? The franchise is literally 40 years old this year, and it's been 35 years since the last initial run of episodes aired, re-cut with a kid talking to a cardboard Powermaster Optimus Prime (while Japan was watching Star Saber battle Deathsaurus and his Decepticon forces). Why would kids connect to something they didn't see, aren't shown, and generally are only told in speeches why they should care about it? Skybound took the time to introduce everyone, in contrast, and make you care, even if you've been apathetic to the Robots in Disguise after years of poorly selling IDW comics that were only for a very specific subsection of a hardcore fan, and gave us reasons to care about the cast outside of the cast telling us why we should care.

Maybe Season 2 (which is going to air somewhere, Hasbro seems to have Paramount obligated to do so) will improve these issues, but I seriously doubt it. I just want Earthspark to finish at this point so we can get something else, even if, in a best-case scenario, an Energon Universe adaptation will take years to be feasible. At least Transformers One seems to be getting good feedback from test screenings.

[abeautifulblog]

okie, time to talk about The Witcher season 3 part 1

To be honest, I've been having trouble figuring out what to even say about S3, because it takes longer to unpack what they're doing wrong than it takes them to do it. 

How do you formulate a coherent critique of something that's not? How do you isolate the mistakes so you can discuss them when everything is a mistake? "This plot point was executedly badly, but it was also a misbegotten idea that they shouldn’t have done in the first place"?

¯\_(ツ)_/¯

--

So I tend to conceptualize writing as operating on two levels -- the macro/story/structural level, and the line/dialogue level.

On a macro level, are events linked by cause and effect instead of just Happening? Is there a point to the things that happen? Do characters behave in alignment with their personality and motivations? Is it clear what the stakes are?

(In fairness, S2 was far worse on that front than S3 -- the crowning example being the time they moved Yennefer from one setpiece to the next by having her literally fall down a manhole. Cue some pasted-on drama where an extra gets eaten by a sewer monster and then never mentioned again, and what the helllllll was the point of that detour? o_O)

On a line level, does the dialogue flow naturally, one person's line following from what was said before? Does the dialogue successfully evoke the audience-reaction that it's supposed to, is it funny when it's supposed to be funny, profound when it's supposed to be profound? Does it sound like something that would actually come out of a human being's mouth?

Shadowhunters was probably the worst show I ever watched in terms of writing that failed on both fronts, but TWN is a close second.

--

If this were a fic I was beta-reading, I would ask the writer, What's the story you're trying to tell? 

Because this happens to all of us sometimes -- we get too bogged down in the nuts-n-bolts of the story action, what’s happening from scene to scene, and lose sight of the forest for the trees. A good editor (or beta reader) can help you keep an eye on the big picture, and make sure that all the story elements are working in service to your goal, that you're not wandering off track into something irrelevant, or worse, accidentally undermining your own message.

I don't think the writers at TWN know what their story is. Sure, they know the events that happen, but there's no sense of why, neither within the story world, nor why this is a story worth telling in the first place. It feels like an adaptation in the worst sense of the word, hitting predetermined story beats simply because they’re obliged to, because that’s what’s in the source material, not out of any natural plot progression.

With S3, they clearly wanted it to be a high political drama, a web of intrigue!! full of shifting alliances and backstabbing and clever people playing four-dimentional chess, etc, but it was done without any understanding of what politics actually is -- ie, people with conflicting goals attempting to gain and leverage power to achieve those goals. So there's spies and ~scheming~ and assassinations, but no sense of what these people hope to get from it all. You can't create conflicts of interest if you don't know what anyone's interests are.

(And to be blunt, these writers aren't clever enough to write clever characters.)

--

The one instance of motivation & conflict done well in S3 -- and hands-down the most compelling part to me -- was Jaskier promising Phillippa et al that he would deliver Ciri to them, if they could kill Rience.

Yessssssss.

Was he lying? No idea, doesn't matter. It's a delicious conflict of interest for him either way.

Because Jaskier's friends are, quite frankly, failing him at that point -- Geralt and Yennefer are preoccupied with the threat that Rience poses to Ciri, which is understandable, but they show a breathtaking lack of concern for the threat Rience poses to Jaskier. Y'know. The guy that actually got tortured by him last season.

(Jesus wept, they make him be bait for Rience, and brush off his anxieties like they're not even listening. They treat Jaskier like he's acceptable collateral damage for Ciri's sake; like her safety matters, but his doesn't.)

(I'm not sure whether the writers meant to make Geralt and Yennefer come off as bad friends? o_O But if they didn't, then playing bait needed to have been Jaskier's idea. Not something they forced him into -- his idea, even though he's terrified out of his mind by Rience, but he's brave enough to stand up and offer it anyway, because it's the only way to protect the people he cares about, and he's the only one who can do it.)

So yeah -- I don't fucking blame him for taking the initiative to look out for his own interests, since it's clear that no one else is going to.

And why shouldn't Ciri go to Redania? If Dijkstra & company can kill Rience, does that not demonstrate both their ability and willingness to protect her? Sure, Geralt's not going to like the idea, and he'll be mad at Jaskier, but what else is new, right? And wouldn't Ciri be so much safer in a fortified castle with an army between her and Nilfgaard, instead of constantly on the run, with mercenaries never more than a step behind them? There's enough logic to the idea that Jaskier could talk himself around to it, while still believing that he's doing what's best for everyone.

It's a potential betrayal, or something that Geralt might view as one, but there are very good reasons for Jaskier to feel and act as he does, even as it puts them at cross-purposes. And that is what well-rooted conflict looks like -- it emerges organically from characters wanting something specific, and wanting it strongly.

But what does Dijkstra want? What does Phillippa want? "Power"? What does that mean, in this context? What do they want to accomplish with said power? When the Brotherhood comes into conflict with the Lodge of Sorceresses, what are they actually fighting over?

Writing a political drama requires understanding both the personal and the political stakes for everyone involved, and the writers just didn't -- didn't appear to even know that that was something missing from their story.

In trying to mimic the political intrigues they'd seen in other fantasies, they transplanted the stems and leaves, all the visible trappings of cloak-and-dagger, but didn't realize that they were leaving the roots behind, and that the roots are what makes the whole thing HAPPEN.

(Awkward metaphor, but you get what I mean.)

--

So yeah.

Like I said, it's hard to figure out where to even begin an analysis of this show, because it's such an incompetent mess on every level. (How do you say where it went wrong, when it’s never gone right?) I'd be fine with judging the show on its own terms, not on a rubric of fidelity to the source material, but I swear to god, half the time I can't assess how it's doing because I can't tell what it's trying to do.

Are Yen and Geralt supposed to be bad friends to Jaskier, and frankly embarrassing role models to Ciri with their juvenile silent treatment of each other even when they're living in the same house?

Is Dijkstra supposed to be a brilliant Machiavellian chessmaster, or is he supposed to be unhinged and delusional?

Is Radovid supposed to be a weirdo who perpetually looks like he's about to burst into tears? (Why are his eyes so MOIST???) Is it supposed to be a red flag when Jaskier says he’s not in the mood to perform for Radovid’s salon and Radovid makes him do it anyway? Or is that what the writers think cutesy romcom behavior is?

idk, man! ¯\_(ツ)_/¯

Anyway, I'm going to wrap it up there, even though I've got a lot still kicking around in my head. But y’all should like, send me asks n stuff, because it’s a lot easier to write a response to specific questions/prompts than to try to cover everything in one post.

[gold-rhine]

For the Keaya hangout event it’s confirmed that Dulic will also be somewhere in the hangout. Do you think the writers/creators are gonna actually try to solve their brother angst within the hangout or are they gonna just make em argue like they always do when they have an form of interaction in this game.

sigh. there is a lot to unpack.

lets start with is it even possible to have believable well done conflict resolution for them in hangout format? 100% no. also, hangouts are optional and hangout paths cannot be used to meaningfully develop character or change core parts of their storyline. bc like players who didn't play it will be confused as fuck and genshin never demands to play hangouts as it does to play quests before you can access new interaction with a character. hangouts are not for character development, they are to expand on characterization, add details and unexpected sides, give exposition on backstory, etc. hangouts dramatize and expand on things we already know from character stories, they set up character conflicts (noelle wanting and failing to join the knights, barbara depression and stalkers, etc), but they do not resolve them. see - Ning's hangout expanded on her relationship with her ppl through PR image and the importance of Jade chamber for her, but Jade Chamber was rebuilt in the actual quest, hangout just setup the symbolism and motivation for it, but if you didn't play it, you're not out of loop of what's going on anyway.

all meaningful character development and story beats are updated in quests, so the next time character shows up hoyo can tell you go play this and this quest to understand why the character is acting differently or how the story of them progressed.

that said, you know what hangout CAN do? fucking RETCON backstories and pretend it's always been like this, so its not story\character progression. I am wary they're heading this way, bc that's what they did in hidden strife and weinfeist thing. There is no conflict to resolve, you guys :) They were always on friendly terms and in contact :) just a lil strained maybe, haha! lets ignore the entire Mond archon quest interactions and the fact that diluc's story quest makes zero sense now, bc it's about keeping kaeya from learning he's batman, when apparently kaeya wrote to him that he knows long ago.

I hate it, because it flattens both characters and makes their characterization inconsistent, muddles existing lore and absolutely cheapens the storyline. The issues need to be addressed and explored for pay off to work. But I'm afraid that hoyo will have them hangout without ever addressing the conflict at all, a lil awkwardly but friendly and throw some fluffy familial interaction there, and fandom will go AWWWW brothers reunion squeee! And I will be a single bitter hater whose mad my fav is being stripped of nuance

So I hope they keep arguing, bc it leaves hope for the actually meaningful character development\conflict resolution in the future, instead of sweeping it under the rug.

[sleepyowlwrites]

hello, since you oferred advice to the other anon can I get some words of wisdom too? you don't have to, I understand it can be a lot to ask. or maybe just a ear to listen? idk I'mhaving mixed emotions right now because somet things made me realize that even though I like writing, it's only gonna be ever for myself. which isn't a bad thing but I wanted to one day publish something but I find out now that writing is really hard and I don't have the discipline or even much interest it studying how to do it "right" like all the technicalities and stuff. so really I just like the finished product and how it "looks" in my brain more. I do like trying to figure out how to make a story make sense and all the behind the scenes stuff, but I'm rarely able to get to that stage due to being tired and unable to focus/ discipine myself to work.

I was wondering if there was something I could do about it? I mean I guess I need to accept that now when I write it's just gonna be as a hobby and for myself. though, similar to the other anon, I would like to share my writing, I mean I think we all want to share something we make at some point. but I probably have to give up wanting to make any kind of career or even part time thing from writing. I'm just not built for it I guess.

it's hard to accept. I tried developing templates for myself to follow to make it easier but I failed. I've tried many tips and suggestions and advice to write better but I just can't seem to grasp the craft. even reading doesn't help me.

I've thought about writing poetry instead, like you. but even though I like reading it I don't really like writing it much. I prefer to have characterts and drama, typical story stuff. but I struggle when it comes to putting everything together and actually crafting/building the story rather than just tell it.

sorry this got too long, I'm not really sure what I was trying to say, just need to go on a rant. I'm sorry if this was rude of me. thanks for reading if you do and I always like your responses so that's why I reached out, but let me know if I shouldn't do it like this

Had to wait until I got home from work.

So it looks like you understand your situation pretty well, actually, which is great to see.

Writing doesn't have to be a full time thing for you to go the published route. We have several published authors on here who have other jobs! You don't need to devote your whole career to it. It's fine for it to be a hobby and for it to be a hobby that you'd like to pursue a final result in.

If writing is something you enjoy, keep doing it, and if you'd like to progress, you can do it. (You can probably do it. Not everything is achievable for everyone. I will never be able to do advanced math, no matter how hard I try. My brain can't process it. But from what you're saying, your braincan process writing.)

You already know stuff you like or dislike, right? You know the story, just not how to tell it? Here are a few things that have worked for me and my discombobulated brain.

1. Bullet point lists. Just listing off major plot beats in bullet points. It's not an outline, it's not a plan, it's just a list of stuff that happens.

2. Rubber ducking. I pick somebody from something I've watched recently - for a whole there it was Keanu Reeves - and I explain my story to them multiple times so I understand myself how it works. Or not.

3. Draw a map. Not just a land map, but a map of where the characters go and notes on where they're from and what they're doing in each place.

4. Ask games. I make up so much stuff for ask games and some of it even stays canon!

5. Don't try to fit yourself into one mold of one type of writer. Just write whatever. Write one wip or 17. Write short fiction. Write fanfiction. Write one paragraph stories. Write comics with stick figures or rambling prose that goes nowhere.

5. When you read, rewrite it in your head. Edit those books! Pull out a trope you notice and stick it in a story. (A trope is anything as general as "enemies to lovers" and as specific as "traumatized tall girl with a big sword.")

6. Actually rewrite scenes, from any media you like. Choose a new pov. Focus on a particular sense, like touch, or write it in future tense, or change the setting.

7. Write descriptive prose that's not a story. Write something that's only dialogue. Write journal entries. Switch it up.

And sweetheart, if you are unable to focus or enjoy this hobby that is usually a good time for you, I think think the hobby is the issue. There's something else going on in your brain and taking up the space and you don't have room to create.

For instance, I work retail, full-time, and it’s the holiday season, and I'm fatigued and stressed and not currently writing anything. But I was also not writing when it wasn't the holiday season. And I was too fatigued to create then, too. And it's probably because my depression is acting up.

This might not be the case for you. I can't know. But everybody learns differently, and if you're willing to try new ways of learning, you might find the one that works for you! I hope so. I hope that you sit down with your brain and parse through it, taking the time to figure out the style that suits you best.

But mostly I hope you understand that regardless of how your brain functions or doesn't, that you are amazing and trying, because you like this thing, and you don't want to give up on it. So good job. As long as it is a thing that you like, I hope you keep trying. Somewhere there is a method that speaks to you, some way that helps you find the dawn after the dark. I believe you can find it.

Keep going, love.

[boypussydilf]

retching. i feel like i need a rewatch of the whole series of f&c in one go to fully cement my opinion without the weeks worth of 'over' hype and theorizing for the finale eps but at the same time the ending soured me so much do i. do i want to? but also i dont /want/ to dislike this thihng i enjoyed so dearly up to this point. man its so sad. a part of me knew that there's no way the finale could satisfyingly wrap things up in two eps but given how the series had gone on so far, 1/2

MANNNNNNNNNNNN 😭😭😭😭😭😭😭😭😭😭😭

i gladly accept my inbox’s position as “support group for people frustrated and unsatisfied with the f&c finale”

Yeah like………. i could tell they were struggling a Little with pacing and being able to fit all the important parts of the story in. ep7 especially like, was a great episode but also some of the plot beats felt like they weren’t built up to properly, or they didn’t linger long Enough on important stuff - like, we only dedicate 2 seconds to the thing abt the star beinf like that bc shes a marceline who didnt have simon…… But i could forgive all that, bc they had a LOT of stuff to fit just into that one episode, and they still hit all the beats they needed to and told a sensible story.

So I thought….. even if they don’t have time to execute the ending perfectly, they can still get their idea across and have everything happen that needs to!

But then they decided to. Like. To some extent tell the wrong story. And DEFINITELY told it badly. There’s good things about the finale episodes, and some of the plot points are What Should Have Happened, but there’s …. just……… Fundamentally they failed to continue telling the same story they had been telling the entire show!!!!!!!!! fionna and cake writers sweeping the subject of simons mental health off the table at the last second to tell a story exclusively about 1 specific aspect of his relationship w betty as if the Life Lesson He’s Learning here has aaaaaaany fucking thing to do with what his story has been about SO far in the series

uuuuuggghhhhh yeah the ending just. soured the whole fucking thing for me. at the same time i still love the first 8 episodes theyre great but theyre better if you don’t know that THAT was what theyre building to. emotionally i dont want to rewatch eps 9&10 in full ever bc the concept of them makes me so upset but also it would be good to revisit the series and look at it from the perspective of knowing what they’re intending to do. i still definitely will never agree with most of the things they did. but i can at least look at it more analytically when im not seeing it for the very first time and dont know where its going. not yet though im still pissed LMAO

ifeel you man. i feel you. so much. we are in this together

[nym-wibbly]

AI, Oh My

I've been using the generative-AI-free Ellipsus for failing at writing for the past few days. Using it to keeping track of notes about the long fanfics I've been sampling to help me write feedback, too. So far I love it to pieces. I love the clean interface. I love that it's in my browser like Google Docs but isn't Google Docs. It's really nice to create text away from that constant push to incorporate generative-AI into the process somehow. Or to click the annoying, distracting thing that sits in the corner of my vision that wants me to pay for an upgrade to some AI feature I didn't want in the first place, and wouldn't save me time or effort if I did. (Grammarly. Just fucking stop and tell me when I use a comma wrong or double a word, okay?)

I did play with AI writing tools while I was ill last year, mainly to pass the time and get up to date with what all the fuss and controversy was about. I squirted a simple 2000-word fanfic I wrote in the 1990s into each one and played to see what the various tools could do with it. Then I tried to get them to generate a similar piece from scratch using prompts. The whole unethical, 'this model was trained on everything we ever put on AO3, wasn't it?' aspect quickly became glaringly apparent once I introduced the subject of fanfiction - or even just asked a factual question about a character from a TV show. (ChatGPT totally 'ships the Thirteenth Doctor with Yaz, a 'ship which must've been at its peak AO3 output when all that data was hoovered up.)

Sudowrite came the closest to being able to do what I need from an automated writing assistant, which is to help me keep track of a long piece by creating and updating a beat sheet and character profiles as I go, or to generate an accurate set of chapter summaries from a giant dollop of existing text. None of these tools can handle a million word epic without going into a death-spiral of confusion and spouting nonsense. None of them can, yet, follow a lengthy or detailed plot well enough to help me re-remember things when I need to. ChatGPT could manage quite large chunks of text for a while in early 2023, then it went downhill fast, started limiting input hard, and started making shit up instead of summarising what text I fed it. I swear to god that thing got incrementally less useful as it got upgraded and as features were added. Nothing else I've tried even felt remotely useful to a writer of fiction, but getting to know the various options did train me to spot and avoid AI-generated articles at two hundred paces, even just from the title or headline much of the time, which has to be a good thing.

I don't want writing done for me, not ever, but if tech can someday help with the remembering-plot-things and keeping-character-things-organised, that would be spiffing. If I could someday rely on it to go, "Whoa, girl, you just contradicted line 23 of chapter 19 with [insert offending text and line number here], at a level of detail that it'd be unreaonable to expect a beta reader to spot in a spread-out WIP, I'd actually pay a lot of money. I want help managing what I write and coping with my cognitive disabilities so I can keep writing stories that are too big for my brain to hold in one dollop. We ain't there yet, but maybe, one day? If we can ever get past the ethics of training the models on other people's data in the first place, and the environmental impact of using these tools at all?

Sudowrite is nowhere near being able to do this for a long story, yet. And the free version is plenty if I just want a quck summary of the story's vibe, tropes, or themes for reference. That I do find useful for clarity, because condensing ideas and summarising fiction is not something I'm good at doing myself. I think Sudowrite might, eventually, be able to help me understand how I write.

So far, so underwhelmed.

[a-student-out-of-time]

Though i am a proponent of the swap theory, at least at this moment, i would like to point out an anternative theory for the prosopagnosia speech.

Firstly, the prosopagnoisa will become relevant in a much later chapter

and secondly, Teruko is Mai Akasaki, or at least in her body. Which is a theory i’ve seen floated around before.

also, unrelated. in looking up Mai’s name to make sure i was spelling it correctly, i noticed some (flavor text? the page descrpitions? idk what they’re called, the text under the individual results in google) that heavily seems to agree with your stance of trust is good, actually.

“It is an equal failing to trust everybody, and to trust no one at all.”

//First of all, thank you for your time and for providing a legit counter-argument. I really enjoy talking about this stuff ^^

//While I agree on the latter point, here's why I don't agree with this theory or that this is setup for later. I'm gonna take a break from theorizing and discuss writing, a subject near and dear to my heart.

//A concept that anyone who wants to tell a mystery is encouraged to learn about is narrative weight, which I've seen defined as "how much or how little attention the story/the narrator is giving to any particular event, situation, setting or emotion."

//Simply put, the more attention something is given in a story, the more important it's going to be. Some examples:

If something is given direct attention for a long-enough period of time, it's a plot point.

If something is given attention for long enough that we remember it, and then it comes back later, it's Chekhov's Gun

If somethings is given attention and then turns out not to be true in the way we were expecting, it's a Red Herring

If something is given attention and changes details that we initially believed about something previously established, it's a retcon

If something is given attention and never receives follow up, it's a forgotten or abandoned story beat

//Narrative weight should, in principle, be proportional to the role something is going to play in a particular story, though not always. Sometimes it's inversely proportional, where something will be given just enough attention that you may remember it, but it seems to slip by in favor of the more obvious examples. Then it turns out to be the key all along.

//That brings me to another concept: breadcrumb storytelling. This is the sort of narrative where you receive pieces of information that lead into one-another, and it's an effective means of keeping someone hooked to learn the answer.

//This is pretty common with serialized stories today, where you have one story leading into another and into another. Some writers specialize in this concept, such as Stephen Moffat, who became both famous and infamous for it on his run of Doctor Who and with Sherlock.

//The problem with breadcrumb storytelling is that it runs the risk of ultimately proving disappointing, and potentially undermining or even ruining the impact of the story in retrospect. I'm sure we've all had that happen, where we were waiting for a big reveal and the landing is badly botched.

//I bring all this up because it disappoints me how the idea of a done-in-one, where things like an episode of a show or a single issue of a comic can tell their own story with the time they're given, has largely fallen out of fashion. Now, people seem to expect there to be some kind of cliffhanger ending or setup for what comes next.

//Yes, one can argue that's necessary for serialized stories, but you can have your cake and eat it too. Small details can serve the main plot of the smaller story and contribute to the larger narrative at the same time. For another DW example, the Bad Wolf and Harold Saxon arcs were there across multiple episodes, but they never actively took time away from the story; they instead came together in the finale episodes.

//All that having been said, I like what Despair Time is doing. Chapter 1 did feel like a done-in-one, where it told a complete story and gave Teruko an arc, and also provided setup for the rest of the story. It really set her apart from other DR and fangan protags for it, and helped to establish the themes of the story, that this is about trust and betrayal.

//That brings me to Mai Akasaki, the mysterious redhead girl. Now, I can completely understand why people would be theorizing about her and what role she plays, and would suggest the prosopagnosia has something to do with it. I'm not going to say that's wrong, because there are so many directions it could go.

//That being said, there's a difference in terms of narrative weight here, and this isn't a case of things being inversely proportional. The reason why I don't think she plays a role in this chapter is because everything we know about Mai, we know from supplementary materials.

//Outside of the ARG on DT's tumblr or the bonus videos on their channel, the only thing we've seen of Mai was a brief flashback after Teruko was stabbed, and a hint that Teruko knew her. Her name hasn't even been said once in the main story yet.

//The secrets motive was definitely an opportunity for them to suggest that someone in the group isn't who they said they were, or was disguised and nobody remembers them, but we haven't gotten any like that, at least compared to the more plausible answers we've received.

//For comparison, Danganronpa Another had a better means of foreshadowing a hidden character. In Chapter 2, they found a yearbook in a locker, which belonged to Hanzo Kisaragi. That not only set up the later appearance of his son, Yamato, but also served to foreshadow early on that they weren't really in Hope's Peak Academy like they believed.

//By comparison, there's still been no hinting toward Mai as of yet. No indication that she's part of the game or that she's here disguised as anybody else, at least not so far. I also find it fairly unlikely that Teruko is actually Mai, because not only does her bad luck plague her in daily life, but we've gotten glimpses of how scarred and injured Teruko's body really is. To me, nothing about it suggests she's not who she says she is.

//I know there's the easy answer that she had her memories and identity erased, but we haven't established a means for that to be possible in this setting. I know I've made that connection in my own AU, but that's for a story I'm telling. DT hasn't confirmed that they have flashback lights, so I can't in good faith say that's a real possibility just yet.

//Here's where the prosopagnosia's narrative weight comes in. See, it did receive some hinting in Chapter 1, but it was small and done as just kind of a funny moment near the beginning, where Teruko couldn't remember who Charles was until Hu pointed out what he looked like.

//In comparison, Chapter 2 involved Teruko having a whole conversation with Veronika about how she thought the protag looked a lot like Teruko, Teruko was confused, and we learned that she really only differentiates people by hair color, eye color and clothes. Veronika then took the opportunity to ask, if she switched all those, would Teruko recognize her? And we got no confirmation as to whether or not she would.

//The reason I'm so insistent about this point is because not only have we not had any follow-up on that yet, but because the only people who investigated the body are the girl who can't recognize faces and the guy who had reasons to half-ass the investigation. And Rose, the only one who could put the issue to bed, didn't even want to see the body.

//There has been very little attention given to Mai so far, but comparatively a lot given to the fact that Teruko cannot differentiate faces. Too much narrative weight for me to feel like this isn't going to play a role in this chapter in particular, the same way the difference between a CD and DVD did last chapter.

//tl;dr version- I think some kind of switch had to take place this chapter and to involve the people here, because I can't see this being about someone who's had no foreshadowing or hinting toward their identity or their presence in the main story as of yet.

//That's just my stance on things as of now, but thank you for offering another possibility. I don't doubt that her prosopagnosia is going to play a major role in things later on, so ultimately, both theories might end up being right : P

[elfcyclopedia]

Fic Lines! Tag Game~

• • • • •

Thanks @thana-topsy by tagging me :3 And therefore recognizing me as a fellow writer even though I still haven't posted anything online. Yet.

The fragments are from two fanfics I'm working on, both telling the story of Ildari Sarothril from her perspecive. They are namely:

"She Looks so Beautiful in Her Grave: A Prelude" and "Ashes Feed My Revenge"

As I said, I haven't posted them yet. But if you get interested feel free to dm me, I'll gladly share my work so far with you :3

• • • • •

Ok, so here we go:

A line from your fic that makes you sad

He looked around the graveyard once again. The dawn greeted him with shy, pinkish rays dispersed in the morning mist. Lighting the sea, the grave… The beautiful and deadly nightshades painted ornate, slender shadows on the ash. The dawn, the time of the Mother of Roses. Silver tears filled his eyes. Oh what a lowly mortal he is, in the face of death, in the face of the Gods. He leapt down on his knees, facing the rising sun, and prayed, prayed ardently being sorry for Azura, Boetiah and Mephala for what he’s about to do. But he couldn’t help it, he couldn’t help it!

(from "She Looks so Beautiful in Her Grave: A Prelude")

A line from your fic that makes you want to punch a character

Master fucking Neloth. Ulves’ face was hued red with anger. It was him who killed her. He coaxed Ildari into performing some unfortunate experiment on her. Two days ago Ulves floated up into the main tower to bring his master food when he casually informed him to dig a fresh grave. His blood boiled from the sole thought of it. He wished to kill him with his whole heart. But he felt so powerless. The old sly wizard would fry him down to a crisp before he could even unsheathe his axe. The only option would be poisoning his meal… but it was very probable that this ash-sucker would survive somehow. And that would mean the end of Ulves’ life. And even if his master, what would that change? There was nothing that Ulves wanted to do after that.

(from "She Looks so Beautiful in Her Grave: A Prelude")

A line from your fic you want to talk about more

Imagine silence. But in its foulest form. The silence that is only found in places of death, sending shivers down the spines of the living. The stillness of a burnt-down village. The void that fills the space after a man has uttered their last words. Somewhere, all among that silence a faint sound could be heard. Ildari’s heart started beating.

(from "Ashes Feed My Revenge")

A line from your fic you're proud of

And there she was outside, barely treading, yet irate enough to kick the ash left and right with a sour grimace. The grim landscape stretched before her - all was only ash and burned-down trees, with suggestions of the shoreline and the mountains of the other side. But they were distant, covered by the thick clouds of wind-swept ash. […] As much as she hated the musty air in the tower, outside it wasn’t much better. Even though the wind was merely a breeze, she already choked a few times on the ash that got inside of her windpipe.

(from "Ashes Feed My Revenge")

A line from your fic that's full of symbolism

Her mind was failing her, it was like a barren soil that couldn’t hold onto any seeds of thought, and certainly not let them develop. After a whole eternity of torment, she couldn’t help but close her eyes.

(from "Ashes Feed My Revenge")

A line from your fic that makes you laugh

“Knock, knock! Can I come in?” chirped Niyya right outside the door of her room. That was weird. She was getting suspiciously friendly so quickly. Well, so far it was harmless. She’s probably one of those people that take all of their life’s pleasures in serving the others and have the reputation of a saint in the society - unless you are the one they are actually helping - then they become really annoying.

(from "Ashes Feed My Revenge")

A line from your fic you think could have been better

“Is everything all right?” How dare she ask such a question? Of course it wasn’t! Just look at her.

(from "Ashes Feed My Revenge")

A line from your fic that contains an Easter egg

[I don't feel like I've ever written one, sorry ): ]

A line from your fic that's shocking WARNING: suicidal ideation

She put the book down and covered her face with hands. It only takes so much to strip a man off the will to live. What if the voices are never going to subside? And the pain? She can’t live like that! What will she do? Will there be anything to live for? She imagined herself, lifeless, half-buried in ash, like this poor young Bosmer necromancer not unlike her, rotting away - only to be found by a flabbergasted traveller that wouldn’t even have the guts to give the final rites. No voices would be heard then. No pain would trouble her. Not a single tormenting thought would ever cross her mind. Tempting. She heard footsteps coming.

(from "Ashes Feed My Revenge")

A line from your fic that makes you go 'aww'

“Um… Ildari” Niyya hesitated. ”I think you are… pretty.” The Redguard’s face turned dark red. Now Ildari understood why Niyya was so suspiciously friendly. But, she was a girl - a mere miner for damn’s sake. And there she was, making goo-goo eyes at her. Ildari wanted to puke.

(from "Ashes Feed My Revenge")

• • • • •

I don't know much fellow writers (yet) but I feel like @katastronoot and @greyborn2 might come up with something interesting :3

[ehlnofay]

writer asks... 🥺🛒🤡✨🎶🎨👀

🥺 Is there a certain type of moment or common interaction between your characters that never fails to put you in your feels? I think that something that always gets me is when the interaction is nice and good and lovely, and it could continue to be nice and good and lovely, but there are underlying circumstances that will not let it be and even now the cracks are starting to show. I love it when you can see the painful dissolution of a relationship long before it actually comes to fruition. it's so hhhhh and I write it a fair bit with characters like arabella and j'zargo, torr and astrid, pax and martin, and so forth

🛒 What are some common things you incorporate in your fics? Themes, feels, scenes, imagery, etc. the thing that draws me most to writing is the characters; I think most of my writing is in some form a character study. I'm perpetually fascinated by how people react to difficulty, how they relate to one another, how their experiences inform their actions. so I think most of the themes that crop up often relate to that. I like using a lot of images and motifs, as well, but I can't think of any that are ubiquitous, though most of my characters have one or two specifically assigned to them that I like to reference

🤡 What's a line, scene, or exchange you've written that made you laugh? hmm... I'll be honest almost anything with efri has at least one thing in it that is extremely funny to me. she just says things. I'm looking through her document to give an example and there's just so much in here. in her first meeting with savos she asks him how old he is and then raps her stick on the ground and says "you're dead," before he can finish answering. she announces to the group of vampires she's sitting around a campfire with that she isn't sure how she feels about her choice to free them, you know, ethically speaking. she refers to the eye of magnus exclusively as "the ball" and when mirabelle informs her what they've been calling it she says "huh. that's a weird name" (she does not know who magnus is)

✨ Give you and your writing a compliment. Go on now. You know you deserve it. 😉 I'm genuinely really happy with where my writing is right now. I'm proud of how much improvement I can see over the last few years in how I portray scenes, atmosphere and dialogue, and I see a lot of potential for growth which I find really exciting! since I was a little kid I've wanted to be a published author and I feel like that's actually in the cards for me at some point in the not-too-distant future (assuming, you know, I actually write a book)

🎶 Do you listen to music while you write? What song have you been playing on loop lately? I cannot play music or listen to literally anything when I'm writing. I close the door and the windows and ask my siblings to turn down their youtube videos or else I Cannot Focus An Inch. however I do love to listen to music to help me think through my stories and characters... it helps me get into a Mood and I've gotten a lot of ideas that way. most recent song I've begun to associate with a character is the amazing devil's the calling. it's pax (ish) at a very specific story beat

🎨 How do you feel about fan art of your stories? LOVE IT FOREVER. I still regularly look at art fight attacks and go AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. I want to give each of them a turn as my profile picture but I keep forgetting :(

👀 Tell me about an up and coming wip please! the Ludicrously Big Project.... if I keep the other sections to a similar length it will end up over a hundred thousand words, which is ABSURD. if I don't, the first bit will feel like such an insane outlier. I guess we'll see... I don't want to go into too much detail since I am only about a quarter of the way in (ridiculous) and I might trim the section I've written down a Bunch, so I don't want to like. jinx it. or say anything that ends up not being true. I will say that each main part focuses on the same story from the perspective of a different character and it is an exercise in not writing in little scenes pieced together (the reasons it is SO STUPID LONG methinks... if it was just the one character in vignettes it would have ten thousand words cut out and it would be done already) and that none of the characters in it are mine. unless you count the ones I made up expressly for this story. also it is pretty dark... which isn't super uncommon for my longer stuff it seems. I guess the more intense topics demand more space to resolve themselves. but there are parts that might be hard to read (definitely will be hard to write). whenever I post it in fifty years I will be sure to include comprehensive content warnings