#and for kind people being rewarded by the narrative

[elchis-art-dump]

I love the baby seikret <333

+rant post

With MH Wilds finally out I wanted to rant about how I feel about it so far. For reference I just beat ray dau, which I feel is a good place to compare the full release to open beta 1 (I didn't play the others). The only other MH games I've play are World and Rise, but mostly World, so I'll be talking from that perspective and will be making a lot of comparisons to World.

Combat:

To preface this, I'm a hammer main and have been mostly playing hammer, so all of my more specific points may only apply there. I want to get my main issue so far out of the way, the game is really easy so far. I've averaged about 10 minutes a hunt on some of the harder monsters. My first ray dau hunt took about 9 minutes, while in the beta it took about 40 minutes + two faints. I know that I'm still early in the game, but the apex of a region being that easy kind of concerns me. The ratholos and diablos story quests in world, or even earlier monsters, felt far harder at the time. It's entirely possible that I've become more skilled over time, considering that it's been a few years since I did low rank World, but some monsters have felt way to easy. Now that that's done with, I think that the combat feels fantastic. Hammer over all combos better, the spinning bludgeon comboing from any attack really helps that. The dodge you get for charging is also fantastic (having evade extender with makes it even better), I honestly find it most helpful as a tool to close distances. Having only the walking speed while charging is kinda annoying, so having this dodge is a huge offensive boon despite it being a more defensive tool. I'm also in love with the wounding mechanic; it feels like what Iceborne was trying to do with tenderizing parts but better. It's no longer tied to having to use a somewhat risky option (although I miss wall bangs). I like how spontaneous it is and that their easily destroyed. These make it feel less like a free damage boost, rather it's far more deliberate since you need to actually target specific parts to break wounds. It's also a fun way to supplement the lower quest rewards since it gives you material.

Environment:

The game is absolutely beautiful and I'm in love with it. The environmental design is fantastic, each area feels super creative (big shout out to the oil basin). The weather changing the area itself is just awesome. I just cannot express how cool, beautiful, and creative the environments are. It seems to be taking a similar approach to World with the incredibly detailed areas, but unlike World everything feels as big as it should be. The open world aspect really makes everything bigger lol. I think the size makes everything feel more reasonable in a way. Unfortunately I don't feel like the areas are quite as memorable as world. Maybe I just haven't gone out of my way to explore them enough (we'll get to that later). I am very excited to get to explore the oil basin tho, absolutely wild area idea.

Two weapons + weapons skills:

I don't think I have much to say here other than that I really like this. No longer having my offenses being tied to my armor saves me from having to decide on if I value my defense or offense more (I still value skills more, but at least armor skills help keep me alive). Weapons skill in tandem with two weapons really incentives choosing weapons that synergize with each other and I just love that.

Performance:

I've seen people complain about performance issues, but so far it runs well on PS5 (idk about PC). I've had one hunt with performance issues, but it was multiplayer and I've only done two multiplayer hunts, soooooo idk what the issue was.

Railroading:

Definitely my biggest gripe with the game. I get that Wilds is far more narrative than other games, but I hate when games tell me I'm not allowed to do something. It just sucks that the game will force me into things immediately before and after a hunt. Considering that at worst it's annoying, this isn't a huge criticism.

Tracking:

Another small point, I just wish that you didn't immediately know where a monster is on the map. I like the scoutflies in world and gathering tracks since it made you explore. I just miss it, man...

Seikrets:

They're adorable and I love them <3333

[stormsthatrage]

I need a character to find themselves in a situation where they have to go undercover and pretend to be a traitor, but they don't have time to tell anyone their plan. And as the plot progresses, as they're acting as a double-agent - fighting their friends, handing over strategic information to the villains, occasionally threatening ones they love - they are just destroyed by guilt.

Meanwhile, back at home, literally everyone knows they're a double-agent, because the idea that this character has actually gone over to the dark side is just so utterly absurd. Like, no one believes it for a single second, everyone clocks what's going on immediately. They're all just playing along.

Like, externally, they're all, "Oh no! My friend who betrayed me has a knife to my throat and is threatening to kill me! Whatever shall I do!" And internally, it's all, "Lol, you would never, I'd literally be more in danger cuddling with a kitten. But I'll play along."

And so the not-actually-a-traitor is just wracked with guilt, and is grieving the relationships they think they've had to destroy, while everyone else is cheering them on for their heroism and desperately waiting for when they can come home safe.

[marimbles]

my favorite thing about zagreus is that he’s the ultra-cool prince of the underworld, son of the god of the dead, skilled warrior protégé of Achilles himself, tall dark and handsome, completely shredded, with the dopest heterochromia ever, leaving sparks in his wake while he struts around like he owns the place (cause he kind of sort of does). BUT he’s also the most pitiful, disaster-level idiot in the underworld.

He got fired from his nepo job for being lazy and unfit for office work. Whenever he talks to the worker shades in the admin office they all roll their eyes at him. despite his elite training he can only progress toward the surface with endless redos and the constant help of every Olympian AND Cthnonic god. his room is a dump. he’s absolutely terrible at playing the lyre. His outfit is designed after his dog. He is sopping wet from his last dip in the pool of Styx 100% of the time, and every time he fails at escaping the whole house can see his walk of shame while Hypnos loudly makes fun of him for dying AGAIN. And all of this is magnified 10x if you’re bad at the game. incredible story design.

Zagreus’s initial inadequacy makes for an even more compelling narrative that feels extra rewarding with each level of progression. And this is all reflected so well in his attitude as a character. He’s such a fascinating mix of brazen confidence and good-natured humility. He may seem like an entitled brat on the outside but he’s incredibly heartfelt and generous to those around him—not just to those of similar status but also to the nervous housekeeper and his angry ex and the trapped souls he comes across in his journeys. he goes out of his way to help people even while he is trying to reach his own goal. and he never gives up, even when it seems impossible. his repeated failures just serve to emphasize his greatest strengths: resilience, determination, hope, and genuine care for the people in his life.

what a character, man. what a game ✊

[teaboot]

do you think i'll ever get to a place in my life where i'm actually a good person and i don't keep getting bombarded with people telling me all the ways i'm doing things wrong. will i ever stop feeling like i'm faking being good and i'm actually a despicable person deep down inside like there's something rotten and irremovable in the very core of me. i feel sick

As a recovering self-hater I have a few things that have been helping

Truly shitty people are typically, in my experience, not chronically preoccupied with anxieties that they need to be better. It seems to be the 100% rock-solid certainty that everything you ever do is selfless that you need to watch out for.

Motive only matters in court. If you donate 30 hours a week to charity so you can tell yourself you're a good person or you donate that same time because you genuinely enjoy helping people, that's still 30 hours, imo. At that point the argument is more philosophical than anything. The help is still happening.

Nobody can read your mind. You can be the bitterest, cattiest, most judgemental and mean-spirited motherfucker alive, but as long as you don't let your feelings hurt others, you're golden. In fact, I personally think you should get extra credit for effort. Swimming upriver ain't easy

None of us are selfless by nature. That's okay. We all crave attention, and validation, and comfort, and reward. That self-interest is a survival skill. It's not going anywhere and I don't think it should. The key is moderation, self control, and consideration for others.

The loudest voice in your head probably isn't yours. Survivors of all kinds of abuse- and all abuse is psychological to varying extremes- often keep their critic's narrative in their head. That voice that says you're awful- is that something you'd say to someone else? No? Then try to figure out who said it to you. They were probably an asshole. The voice that answers it it probably your own. Listen to that one

No, you will not feel like this forever. It's a pain in the ass, but dedicating time and thought into ignoring that inner critic and elevating your positive impulses is effective.

Some things I've done myself that seem to help:

Do some research on cognitive behavioral therapy and cognitive reprogramming. These are easier to exercise with a therapist but once you figure out the steps to follow you can do them on your own, too.

When you do something good, write it down for yourself. Keep a dated journal, either on paper or in your phone. When you find yourself in a pit of self-loathing, you can go back and remind yourself of all the good you've done. If this is hard, try listing 3 good things you did at the end of each day. Anything from picking up a scrap of litter to running a food drive.

Long post, but really, the best thing I can say is this:

Aything that takes effort is worth celebrating, even if that effort is minimal or that task is considered small.

At the end of the day, "bare minimum" isn't working a full-time job and eating three meals a day, cleaning up after yourself and doing it with a smile- bare minimum is nothing. Bare minimum is laying on the floor motionless for 24 hours and filter-feeding like a sea sponge. And if even that's difficult for you, then it's not your bare minimum, is it?

There's a lot of cruel, inconsiderate, uncaring people in the world, only out for themselves at the expense of others, and even if you think you're one of them, giving a shit about doing better still puts you a mile ahead of most.

Try not to worry too terribly. If you're thinking about it, you're probably doing fine👍

[sunderwight]

Shen Yuan who glitches in his transmigration, but the original Shen Qingqiu still dies of a qi deviation.

So the System still needs someone with narrative relevance to throw Luo Binghe into the Abyss. In a fit of desperation, it contrives circumstances after Shen Qingqiu's death to move Luo Binghe to An Ding Peak (not that difficult), and then the System makes Shang Qinghua be Luo Binghe's new scum master who casts him down.

Airplane's thrilled, really. Cultivators aren't supposed to get ulcers but damned if he doesn't come close to one anyway. Between Shen Qingqiu and then just a while later Liu Qingge both dying from qi deviations, and Shang Qinghua looking like a stiff breeze could take him out any day now, poor Mu Qingfang is also just about at his wits' end.

But it's not all bad news! On An Ding Peak, Luo Binghe actually finds himself surrounded by the kinds of people who are accustomed to being bullied by the rest of the sect. So they're pretty sympathetic to him, and it's easier for someone with basic laboring skills to advance on that peak too. His chores don't decrease too much, but he actually gets rewarded for doing them well, and no one tries to kick him out of the dorms or anything. Shang Qinghua doesn't either go out of his way to bully or praise Luo Binghe, correctly reasoning that his best shot at not getting a gruesome death is to just be a more forgettable bad guy than an abusive dirtbag or a heart-wrenching betrayal. He doesn't sabotage Luo Binghe's cultivation (no point, and it would just farm resentment later) but he also doesn't go out of his way to help him improve (not gonna arm his inevitable maybe-probably-murderer with better weapons!), so Luo Binghe's situation sees an overall improvement but not the zero-to-hero treatment he'd have got with Shen Yuan either.

When Shang Qinghua shoves Luo Binghe into the Abyss (he just full on picks him up and tosses him like a sack of beans, better to rip it off quick like a bandage), LBH is upset, but he's not especially surprised or dismayed about Shang Qinghua's part in it. Later on he'll be kind of confused, because he just assumed that of course the righteous sect cultivator would abhor the demon, but it turns out Shang Qinghua has been working for a demon since before Luo Binghe even came to the sect? But then it still kind of makes sense because a Heavenly Demon would definitely pose a risk to Mobei Jun and to Mobei Jun's rule. Shang Qinghua, he supposes, is just really loyal to his specific demon.

Luo Binghe's subsequent revenge quest is also somewhat mitigated by the Abyss actually not being that bad.

The Abyss is not actually that bad thanks to the glitched out Shen Yuan having been camping there for several years now.

So when Shen Yuan's transmigration failed it failed because he "woke up" during the process, realized where the System intended to put him, was like no way in goddamn hell am I being that guy about it, and actually kind of won the ensuing tug-of-war. The System couldn't put him in Shen Qingqiu but Shen Yuan didn't want to go back to his dead body either, so he ended up stuck in the nearest available space for lost interdimensional beings. Which was the Endless Abyss.

Luckily Shen Yuan's quasi-transmigrated imparted an equivalent cultivation level as Shen Jiu's to him, and the glitch made him able to sense and manipulate certain extra-dimensional energies, so he manifested as this weird godlike being able to manipulate and control aspects of the Abyss. So he set about transforming Airplane's Torment Nexus into a viable ecosystem (the current version would not be anything approaching sustainable were it not for divine/narrative intervention, and is constantly on the verge of destabilizing into unlivable ruin that would only be fit for some particularly hardy microorganisms).

It's still like, a monster land full of demonic creatures and terrifying phenomenon, but with Shen Yuan's assistance it becomes something more like a demonic wildlife reserve than a dimensional horror plane. Though it is still a dimensional horror plane, and Shen Yuan is its chief dimensional horror. He treats it sort of like those dungeon building or wildlife park sims, figuring out how to keep everything in balance while still preserving all the interesting parts. A lot of the extreme survival issues of the Abyss are more of a result of it being environmentally unstable than a result of its actual denizens, and once he smooths out a lot of the messy dimensional edges and creates stable vents for the fluctuating energy run-off, the demonic inhabits start behaving less like horror movie monsters and more like animals. They're still wild and dangerous and prone to killing one another, but also more cautious, and able to access enough stable resources that they can even start to be picky about what they pursue.

Turns out that a lot of creatures in the Abyss actually don't like fighting and dying and being brutally injured on a regular basis, even if they can heal from it!

Shen Yuan has even discovered that some like chin scritches (he's not terribly worried about habituating them to people, given how rarely any people actually access the Abyss, but also because he's not really all that people-ish himself these days).

This means that one of Luo Binghe's first encounters with the horrible creatures of the Abyss, is in fact a pack of wolf-like monsters thoroughly avoiding an actual fight with him. In fact most of the denizens of the Abyss just avoid him. They can smell the Heavenly Demon energy rolling off of him, and given the current abundance of alternatives to dealing with that, virtually none of the monsters actually choose to challenge him. There are still a few that will go after anything that's bleeding, but that problem stops once Luo Binghe's physiology heals his wounds, which takes like... a couple hours, max.

Despite the stories he's heard, Luo Binghe is relieved to find that the Abyss is not quite so terrible as all that. Normal survival skills suffice for seeing him through much of it. He's able to hunt for food, scavenge for tools, and even finds potable water fairly easily. After a few weeks, he also comes across a ruin which seems to be inhabited.

The being inhabiting it is plainly a god, although he demurs and refutes such assertions whenever Binghe is too frank. He's a strange being, at turns looking like some queer approximation of a human, at other times blinking and winking in and out of existence, in patterns of strange lights and oddly geometrical fire. But he's surprisingly not hostile, letting Binghe rest in his residence, and even directing him towards points of interest. Accompanying him, too, though he seems to think that Binghe doesn't notice the odd almost spiderweb-like patterns that appear on things which he's influencing. The god calls himself The Peerless One, or at least that's what Luo Binghe infers from some writings on the ruin. The Peerless One offers instruction, seemingly without thinking about it, and gets flustered at being addressed by title, so Binghe also begins to refer to him as Shizun after a while.

[cavegirlpoems]

So many TTRPG people, like yourself, seem to exist in a world where players don't actually enjoy the campaigns they're in, and don't actually like playing with the people they play with, and your whole approach to game mechanics seems like it's about trying to bribe these people to continue playing at a given table.

i have no idea where you get this idea from, I play a bunch of different games - including freeform text rp, fest larps, parlour larps, regular tabletop campaigns, longform play-by-post games and narrative wargames - and I have a lot of fun doing it. I wouldn't be a game designer if I didn't actually enjoy games. The thing is, if you study game design and ttrpg theory seriously, you think about the intent behind design decisions. Game design doesn't just happen by accident, the designer put a given rule in for a reason. So, you ask yourself why the designer made the game the way it did, and what they were trying to achieve.

A significant tool for game design is considering the feedback the game provides; what behaviours that ruleset rewards and what it discourages. (You can apply this analysis to other games, too, like video games). When I'm talking about a bribe, it's in that context; how does the game reward you for doing things, and what things does it reward. (For example, 'scrabble' rewards you for playing words with weird letters in them by making those letters worth more points.)

The thing is, ultimately, every game relies on a simple proposition; that if you volunterily use its rules, you will have fun. You don't need to follow the rules, and you can have fun without them, but the idea is that using the rules will let you have more fun, or a different type of fun, than if you didn't. (For example, throwing a ball around is a bit fun, but if everybody agrees to follow the rules of basketball, you get a different experience that a lot of people prefer). So, the only bribe you're making on the interpersonal, out-out-of-game level (unless something weird is going on) is "if we play this game it will be fun". When I talk about bribes and incentives, it's *inside* the game, after we've all agreed to the game's proposition of "if you use the rules, you will have fun".

Now, what counts as an incentive varies by game. Some, like Warhammer 40k, are challenge-based, and have ways to keep score of success and victory; here, things that signify overcoming the challenge are your incentives; how you get a high score, how you win, etc. Others, like most ttrpgs, are creative-based. What constitutes an incentive within the game's structure is less precisely defined. By and large, though, these incentives tend to be things like increased agency within the game fiction, space for creative expression, and experiencing and learning about more of the game fiction. (In this structure, 'being more mechanically powerful' can be thought of as a way of granting a player more agency, because their actions are more likely to succeed and result in the outcomes that they want. If the mechanical growth is lateral as well as vertical, then how to get more powerful is - itself - a venue for creative expression in what to prioritise, which is also a reward).

In the same way that you have the adage that 'restrictions breed creativity', the same goes for Fun. Limiting your scope from anything-goes freeform by voluntarily agreeing to use a set of game rules can produce similar results. Voluntarily limiting your agency in the fiction according to a set of game rules produces a friction that players of roleplaying games find enjoyable to push against. In this context, a reward structure within a game serves the useful purpose of signposting which direction you should push to get the fun kind of friction. A game which limits your options, and then gives you more options when you engage with certain behaviours, is telling you that those are the intended behaviours. Likewise, a game that limits your options even further when you do something is encouraging you not to do that. This is because game designs are not neutral and universal, they exist to create specific experiences. A game that rewards you by giving you more space for creative expression when you get in a fight - and gives you less space for creative expression when you avoid violence - is one that wants you to engage in violence, because it's designed to be a game where you have fun by fighting. This isn't bribing the players to sit down at the table and play the game; that has already happened outside the context of the game. They have already agreed to the game's offer of 'if you use these rules, you will have fun'. Rather, this bribing is within the game-space, the games mechanics encouraging the players to engage with it as intended, in the way that will be most fun. IE: these incentive structures are a tool the game uses to achieve the promise it makes; they guide the players towards the fun that they volunteered to have. Hope that makes sense. * * * Now, your initial ask is a weird take that's entirely unrelated to anything I've posted, and - particularly from an anon account- oddly antagonistic. I don't know if you're genuinely confused about game design, or arguing in bad faith. Either way, this probably doesn't merit the small essay I've produced, but have one anyway, it's always fun to clarify my ideas in written form.

[whetstonefires]

Thinking about the parallels set up between Wei Wuxian and Mo Xuanyu, and how actually most of them are oddly specious.

The sketch of the backstory lines up, but on close examination they're mirror images.

Wei Wuxian wasn't kicked out of his sect, he left it. Wei Wuxian didn't hate the house he grew up in, he loved it, and getting the people there killed was the absolute last purpose for which his dark powers were ever intended.

Jiang Cheng was no Mo Ziyuan--his jealousy was a complicated thing all twisted up with love, and while he would lash out at Wei Wuxian both as a casual means of shit communication and more damagingly in moments of high tension, he had neither the desire nor the ability to bully him, and in general respected his boundaries almost too well.

When Wei Wuxian destroyed himself about Jiang Cheng, it was to give him cultivation, and protect his life and happiness. He would never have killed him.

Madam Yu was a domineering aunt-like figure, who hated Wei Wuxian for reasons of reputation, and because she had resented his dead mother, but she crucially did not have the power to actually disrupt his lifestyle to any significant extent.

Mo Xuanyu was shut up in a small room to rot; Wei Wuxian didn't even attend classes unless he wanted to. Mo Xuanyu was weak and disliked; Wei Wuxian was brilliant and popular.

Mo Xuanyu's uncle is a cipher of a figure, without character or agency, a nonentity who is resented to death apparently mostly for what he didn't do; in theory he is the master of the house, but he certainly never protected his wife and son's punching bag from them.

And this is what got me thinking along this track: because people keep interpreting Jiang Fengmian as this, as exactly like Mo Xuanyu's nameless uncle, a nonentity who lets his wife make all the decisions, and is contemptible therefore.

He shows up in fic characterized this way all the time, handled narratively as a gap rather than a person, an absence where there should have been a parent, and it's...totally inaccurate? The man only has a few scenes but the things that are most firmly established about him are:

he regularly goes out of his way to protect Wei Wuxian

he's extremely fond of Wei Wuxian

he cares a lot about ethical behavior

he's conflict-avoidant and gentle

he can and will overrule Yu Ziyuan when he's made up his mind, and there's nothing she can do about it

his communication skills are mediocre at best

he doesn't understand jiang cheng

he has a dumb sense of humor

Now almost none of this made it into cql besides point 4 and maybe 6, 5 is technically there but buried by the cinematic framing, so I totally get why the fandom on the whole struggles to characterize him well, and it's easier to write him off.

But it keeps bugging me to see him and Yu Ziyuan squashed into the mold of the Mo, because not only is that boring and reductive and kind-of-missing-the-point, it's like. Wei Wuxian and Jiang Cheng's characterization suffers a lot when you alter the environment and take away the influence exerted by their shared father figure.

Jiang Fengmian was Wei Wuxian's primary adult role model and it shows.

Jiang Cheng's relationship to his own sense of ethics is fraught because 'teaching him good ethics' was his dad's number one parenting goal, but they misunderstood each other so badly (partly because Yu Ziyuan kept loudly misinterpreting them to each other, which is so realistic I can't get over it, that's exactly how it works good lord) that Jiang Cheng has a direct association between the concept of 'doing the right thing even when it's hard' and a feeling of personal inadequacy.

The fact that Wei Wuxian got their dad-person's approval for being exactly himself and Jiang Cheng not only couldn't do that, he couldn't even get that same level of approval when he really pushed himself to rise to expectations, because Jiang Fengmian did not intend that warmth as a 'reward,' and so never realized he was withholding it, and therefore misunderstood Jiang Cheng's visible jealousy as a dangerous sense of personal entitlement that had to be carefully restrained, which reinforced his distrust of Jiang-Cheng-the-person and fed into a shitty loop where they were less and less able to relate to one another--that's fantastic. That's so human! I love it so much.

Both their failures are their own but at the same time it would never have gotten so bad if Yu Ziyuan hadn't been interjecting herself in there, in the middle of their relationship, fucking it up. That's family, baby.

I would ofc like if there was more fic engaging with the subtleties of all this because it's so good, mxtx did such elegant work here and it is not sufficiently appreciated. But it's the kind of thing that's hard to write good fic about; I am struggling with it myself.

So mostly I wish there was just more fic that didn't impose Mo Xuanyu's cliche angst backstory on Wei Wuxian, who has a whole different thing going on.

[olderthannetfic]

Hi OTNF and everyone,

I am finding that it's harder and harder and harder to get into anything - book, show, movie... most things seem, you know, to just not be doing it for me, be it fanfic or original stuff.

In part, I think, it's a general restlessness and that it's become harder to give anything enough time to get into the stories, the characters, the settings, the narrative voices... I guess you can call it attention deficit on my part, just a need for stories to deliver those sweet, sweet hits quickly, but they're not.

I'm not currently ficcing but I did for years (might again in the future, who knows), and it's made reading, specifically, harder. It's like I've become more aware of what goes on behind the scene, I guess? I feel like I can see the writer giving up on a sentence, skipping a scene because fuck this, trying hard to not repeat a word although it's the only one that fits, etc.

Or maybe it's just the *everything* around us in the world that is weighing on me too much? I could say it's adult life, but then again I have more free time than most (and boy do I need hours of doing nothing to survive the other hours), and no family/partner (all that would put even more pressure on me): what is wrong, to make everything so UGHHH?

I feel like I'm stuck in a rut with a brain moaning feed me, feeeed me, and whatever I try to give it, it spits everything out. (Yes, I've tried hobbies, and nothing sticks there either. I've never really found rewards or satisfaction there, so...)

Decades ago as a kid, I was a voracious reader, although studying literature took the pleasure of it away from me. It took time and discovering fanfic that brought me back to reading, but at the time the internet was starting to be a thing, too, and it can't have helped the attention thing. AFAIK I'm not ADHD but then again, I couldn't get a proper diagnosis (the therapists I saw were either dismissive or just about The Talking, which was pointless for me).

I just wonder how it all disappeared, you know? Sometimes I find something that catches my attention for a while - a book (but I read quite quickly when motivated), a fandom... but it's been a while now, and it's just so frustrating! When is it going to come back? Will it ever? *gulp*

I know that books were escapism when I was a child, and then fandom was escapism, but at the moment I find myself grabbing at air and my empty hands are mocking me. Give me my escapism baaaaack!

So, uh. Anyone here with me?

--

Yes.

I felt like that during part of lockdown. Anhedonia is common in those kinds of circumstances.

Getting your mojo back is certainly possible, but you may need to go see a professional about depression and have some chemical assistance (yes, even if you don't feel sad per se), or you may need to change your lifestyle to one that doesn't have the thing causing you to need eleventy billion hours of downtime.

Aside from serious interventions like that, you can consider a social media detox. Remove every source of doomscrolling and time wasting of that type. When the attention span is zero and nothing brings joy, the tiny and useless hits from finishing a game of solitaire or seeing one more instagram post become very attractive. This is a trap. It will suck what little energy and joy you have and make your muscles flabby for the work of getting into an in-depth book/hobby/experience.

I know the feeling of being able to see how the sausage is made, but... well... first, being in a better mental state will make that matter less, and second, reading prose that is more competent will make that less of an issue. A lot of mainstream tradpub genre fiction is not, in my opinion, very well written these days. Obviously, people are still enjoying it, and that's fine, but if you're noticing writers fumbling around, it might be time to check out some literary fiction or some other category known more for prose quality than anything else.

It's also important to have some structure and some things to look forward to. Even if you feel tired, overwhelmed, and busy, sometimes, the answer is to do more... But it must be things that are distinct and significant and that get you off of the couch, like going to one museum every weekend.

I saw some advice once about this kind of thing that phrased it as "One big adventure; one small adventure."

Every week, you should have those two things to look forward to that matter. Check out a new coffee shop. That could be the small one. Go to an event: a gallery opening, a concert, whatever.

Physical exercise and doing some things that aren't as verbal and conscious thought-involving is important too. Painting is a better hobby for zoning out than writing is. Taking long walks in nature is good for most people.

--

The kind of intense, obsessive love I had for reading as a child and that I sometimes have for fandom requires a lot of attention and some time. It's escapist, but that masks how much work it actually was. It didn't feel like work only because we were in training.

If you've filled your brain and your day up with a thousand petty annoyances or minor and useless attempts to feel something, you won't have the capacity for those deeper things.

Because you are already at a point that's equivalent to a bad sprained ankle, trying to get back to running right now won't work. You have to stay off of the ankle for a bit, then build your strength and stamina back up.

[langernameohnebedeutung]

there's a lot of valid takes on why Gen Z is becoming radicalised at the rate they are - all that misinformation, tiktok, red pill, the pandemic - all have good points. But I think another factor is that even politically, their sense of normalcy is entirely different to the one of prior generations. The spiral of the last 15 years, the way the Overton window has moved, the change of style and tone in political discourse, the normalisation of anti-democratic ideas, the obsession with people's private lives, the topics that are front and centre during elections these days, the changing concept of the respect and dignity expected in a public office (god I sound like a boomer) - all of that was shocking to us.

the three generations of my family, all born and raised in VERY different time periods from one another, we've all just been equally shocked and horrified again and again these last 15 years - not just by what is happening but how it is happening and by what is possible and how easy it is to make a total mockery of the democracy and the rule of law. For all of us, that was a feeling of realising that something we implicitly trusted in to the point that it didn't need talking about ... just falling away. Or proving to always have been an illusion to begin with. To someone who grows up right now, this safety and security has NEVER existed.

But for these kids - the window of their life where they start becoming politically and culturally aware basically coincides with this downward spiral and I think that makes many of them blind or numb to it. I think for many of them, that's just their understanding of how things naturally progress and politics works. That the way previous generations evaluate the current situation - this framework of intentional manipulation and misinformation and radicalisation - is just fair and acceptable behaviour and that of course politicians manipulate the discourse to get what they want and of course it is normal to tell brazen lies and spread panic if that gets you what you want and if you're loyal to the party, you parrot those lines whether you really believe in them or not. (And let's be honest with ourselves - the seed to that has always been there)

And others, who I imagine intellectually know that things are going downhill, are really stuck in this extremely mind-numbing fatalist mindset (climate change is gonna kill us all anyway, haha) which makes you hopeless and desperate. And being hopeless and desperate also makes you vulnerable to all kinds of manipulation and radicalisation - because the offer you a perspective. Or meaning.

If you think about the trad-wife and redpill stuff or generally christian nationalism but also any movement that instrumentalises history with ideological narratives, you notice that their narratives place periods of stability way back in time in periods that match aspects of their idelogy e.g. their fetishisation of the 1950s. Then they come up with some horrible bad evil enemy that destroyed that paradise and created the 'degenerate' misery we live in now. Authoritarians and ideologues and cults have always done this. It's part of constructing the mutual enemy.

Beause this way, they can create their illusion of this kind of mythical, unreachable utopia (the past) that fascists love and attach all kinds of conditions to reaching that - with no pressure for them to ever actually deliver: women staying at home, racial segregation, christian hegemony, eugenics, absolute exclusion of gay and trans identities etc. This doesn't just have the benefit of pushing their politics on a confused youth (though that's a big benefit) - it also helps them hide from young people that these last 15 years, they literally created the chaos that these kids are living in. They sowed this situation and right now, with the radicalisation of the youth, they are reaping the rewards.

And the thing is, we can blame the Tiktok or whatever but I also think it is important that we let younger people know and feel that what's happening right now - is just not normal and not sustainable.

And yes, we need to let go of the naive illusion that "the kid are going to save the world". We should never have had that. But I also don't think a radical heel-turn vilifying all of Gen Z is going to help anyone or do justice to the situation.

[amarguerite]

I think there's an interesting overlap or at least a visible evolutionary link between the heroine of a comedy of manners and a screwball comedy-- it is about a (usually) young woman learning how to live in the world. there's wacky characters about her. her family is usually very funny and often mortifying. the plot usually involves her marrying or being married to a hero who embodies at least some of the virtues of the era.

HOWEVER

the screwball heroine is always rewarded for the unconventional choice.

it doesn't matter how insane that unconventional choice is. it always works out for her

as long as she has enough moxie and one-liners, she can do anything. she wants a leopard as a pet? sure, fine, it'll net her a paleontologist. she wants to be a newspaper reporter at a time when papers are still male dominated? she's so goddamn successful she can't quit her field. she wants agency and genuine connections to people (usually in the form of a fiancé) in her life? running away from her life and going on some kind of wacky journey lets her make real connections with people for the first time. she wants to be a detective? she cracks the case. she wants to go on the stage? she becomes the star of the show. she violates class boundaries? she finds love and fortune. she wants a divorce? she gets it, and often a better marriage too

I think that is what is appealing in a way, about the form of that particular narrative-- the starting assumption is The Heroine Triumphant

[piracytheorist]

I'm rewatching the Yor learning to cook episode and it's just SO fucking good you guys. Not only the episode itself but the way its storyline is presented.

I've seen people react to jokes about Yor's cooking with a "but she's getting better at it!" and while I understand that reaction, the thing is, she doesn't have to get better, and the narrative itself is perfectly fine with her being at best mediocre at cooking. Yor's bad cooking is used to explain her low confidence, but it makes perfect sense when you consider the misogyny in the era she grew up and lives in. But aside from one comment Anya made to deflect, and involuntary reactions to her food that they can't actually help, neither her nor Loid actually judge Yor for her cooking nor do they demand more from her. It's just accepted that Loid will cook as part of his share of the chores and no-one even spares a second thought about it. In fact, the main reason Yor worried about her skill is because she believed Loid spent an entire day in the bathroom because of the breakfast she made, so she wanted to learn better because she wanted to avoid giving them food poisoning.

Of course, this does tie in with her job, where she's trained to kill in cold blood, and with the world around her, who perceives women not only as less valuable than men but also defines them in strict patriarchal terms, one of which is that the wife cooks and she must do it well too. So even though her bad skills don't worry her too much about her worth, it's unavoidable that it will affect her and I think it's important that the story itself takes that into consideration.

And I just wanna point out how it's actually good that the narrative adds a humorous tone to just how bad her cooking is, because while it does make a reference that her low self confidence is because of the sexism she's faced in her life... the humor isn't sexist. Try and flip the genders here. A story of a straight couple (fake or real married) where the woman cooks well and the man is a horrid cook would make no-one bat an eyelash if it simply poked fun at how bad the man's cooking is. Again, without any comments about the character's worth based on his cooking, just that whenever he's in the kitchen, there's usually a bloodbath one way or another.

It's the same exact presentation with Yor! The narrative takes away gender roles and simply pokes fun at her bad cooking, in the same way stories poke fun at characters failing at any random skill. Like we have the word "himbo" as an affectionate term for a male character who's kind but very stupid but god forbid we love a kind female character who is equally incompetent in something. We only find it sexist because we were also conditioned to think that only women cook well and that it's a woman's responsibility to cook for her family and do it well and as we grew we rejected that expectation. The story actually subverts the sexism of that and it says "Yes this woman's cooking is absolute shit and we love her for that."

And it's all solidified with how the story resolves: Yor makes a good dish, and Loid and Anya praise her for it. But it's not in a "you get a good grade in wife" way, it's a "we appreciate this meal you made for us". Yor feels happy because her creation made them smile. She offered them something that they never demanded of her, and it made them feel good. It's about human connection, all over again, that someone's efforts to offer to their fellow human were rewarded with pride and gratitude. It's especially touching that the dish Yor made was something from her own childhood, something that brought warmth to her too.

It's also important to remember that another motivation in the whole thing is that Yor and Loid want the public to think their marriage is real and not worthy of gossip - which is why Yor mentions that she was worried about getting in trouble in regards to her assassin work; her reason to get into that deal in the first place was for cover for that work. The better and more conventional their presentation, the more solid their cover. That's why she mentions at the end that she feels more confident as the wife and mother of the family; it's the fact that she now has something to use for their cover. Say she's talking with someone and the conversation veers towards cooking. Before, if she was asked about her cooking, she would have to say she doesn't cook or her family hates her cooking, and she would worry about getting judged, like Swan judged her. Or she would have to lie, something we know she's not very good at. Now she can at least say "Oh they love my stew!" as the perfect answer because it's simple, clear and also true. So again there's definitely an element of her confidence being low due to the society's sexist worldview. But in this case it's also, and actually more, her worrying about being reported due to not fulfilling her "gender role" sufficiently.

(anime only fan here, don't spoil me for the manga)

[moongothic]

Rereading Dressrosa for the first time in quite a few years, after having become a Crocodad Truther specifically, was a really interesting experience, mainly due to the relationship between Kyros and Rebecca and Luffy's very strong feelings about those two in particular

Starting with the latter point; watching Luffy get really passionate about making sure Rebecca reunited with her father, instead of the two never seeing each other again as Kyros had planned, was just really facinating to me.

Now there ARE layers to this; Luffy saw first hand how much Rebecca and Kyros love each. Even if he didn't know or understand all the details, he knew these two were family forced to live apart due to Doflamingo's rule and that, even though Rebecca didn't know Mr Soldier was her father all those years, he still looked after her and did all he could to protect her. Luffy understands how much they matter to each other. Luffy also gets that Kyros was trying to make a sacrifice out of self-loathing; Kyros saw himself as a bloodstained monster who did not deserve to be by his daughter's side, thus his insistence on them going their separate ways. But not only is that "sacrifice out of loathing" not a thing One Piece rewards within the narrative*, but Luffy emotionally understands what Kyros was trying to do was stupid as hell. *(See; Robin trying to save the crew in the CP9 Saga, Sanji trying to offer his head to Kuma to spare everyone else (because he saw himself as the "least worthy", compared to Zoro who believed he was the only one who could actually tank Kuma and survive), Sanji again during Whole Cake Island, etc)

Adding to that, in what I feel also harkens back to Alabasta (vaguely important since Dressrosa in many ways is a reflection of Alabasta); Vivi made her decision to stay in her home because that's what she wanted deep in her heart, because she loved her country. Just the same way, dethroning Doflamingo, getting revenge for her mother and reuniting with her extended family were all fine achievements. But all Rebecca wanted deep in her heart was to stay with Mr Soldier (regardless if he was her father or not). That's what mattered the most to her.

How could Luffy even think about leaving without making sure Rebecca was able decide on her own if she wanted to stay with her father, instead of him making that decision for her, not because it was truly "for the best", but out of Kyros' own guilt and self-loathing.

All of that to say; Luffy becoming so emotionally involved in Rebecca and Kyros' father-daughter relationship is perfectly normal and on-brand for him, it's not strange at all.

...At the same time. I could not help but to wonder if those two's relationship could somehow reflect Luffy's relationship with his estranged parent(s), and more importantly, kind of debunk the fandom idea of Luffy as someone who 100% does not care if people are related or not and has ZERO interest in Dragon etc

Like I have discussed this before but I've been meta posting for so long on here I'll repeat myself just a lil; I feel like it's less "Luffy doesn't care Dragon is his father" and more "Luffy doesn't know HOW to feel about Dragon". We don't know what Garp told Luffy about his parent(s), presumably and based on the conversation post-Enies Lobby it just seems like Garp never mentioned ANYTHING to Luffy? Like he didn't even tell Luffy a white lie about why his parents weren't there for him? We simply do not know. But what we do know is these three things: 1. Luffy hates being alone, even more than "being hurt". Being alone is his worst fear 2. Although Garp was responsible for raising Luffy, he wasn't always there, meaning other townspeople and Shanks' crew alike were equally "responsible" for looking after Luffy. 3. Meaning Luffy was essentially an orphan. Fans will joke about Luffy's surprise at him having a father being because he's stupid, an asexy and doesn't know where babies come from, and while I may not be fully able to debunk that conceptually. Like. It's just as possible that because Luffy was raised like an orphan, he might have assumed that either his parents were dead or had abandoned him because they didn't want him. And I'm going to argue that if that's what Luffy always assumed was what happened, yeah, it'd contribute to his fear of being alone. It'd explain why he'd be surprised to find out he actually does have a father out there somewhere. And yeah, Luffy might not know how to feel about Dragon if that's the case. Should he hate Dragon because he wasn't ever there for him (from Luffy's POV)? Why wasn't Dragon there for him? Did he really not want Luffy, or did he have some reason for leaving Luffy? What is he like anyways, is he nice or cool or a dickbag?? Should Luffy even care about any of that stuff??? All of that to say; I don't think Luffy is completely disinterested in Dragon, I think he doesn't know how to feel or think about Dragon, and it's not relevant to Luffy right now anyways because Dragon's like, out there somewhere while Luffy is on his journey. Where as, if Luffy were to meet Dragon, get to know what he's like, why he wasn't there for Luffy and most importantly, how he feels about his only son (does he care about Luffy and his wellbeing? Is he a Kyros or a Kaidou?)- yeah, I think then Luffy COULD learn to be interested in Dragon and care about him Not out of obligation (because of their blood) but out of Luffy's own will, out of Luffy's acknowledgement of Dragon's love for him

And yeah, then we get to add the ever-delightful layer of Crocodad Trutherism to this mess.

You know how my personal theory goes; that Crocodile's been trying to find a way to overthrow and nuke the WG (potentially with an Ancient Weapon) to make sure his long lost child would be able to live freely and do whatever the hell he wanted without having to fear the WG would ever target him because he has Evil Revolutionary Leader Blood coursing through his veins. That's what makes the most sense to me as Crocodile's ultimate motivation. To protect his child, no matter the cost, even if he had to become the devil himself.

And hey, what was the story between Kyros and Rebecca again? Kyros trying to overthrow a corrupt government (a fallen Tenryuubito to boot) to protect his child so she could live freely without having a target on her back?

I don't need to explain how One Piece does have repeating themes and motifs, surely. (Also there's something to be said about fathers in One Piece who would go to hell and back for their daughters, Kuma being another example, but that's a whole different essay. But Oda's Girl-Dad Agenda is showing)

But yeah, what's even more interesting here is how Kyros believed he didn't deserve to have a reunion with Rebecca. He commited a murder decades ago, and although everyone else seems to have forgiven him for that crime, Kyros himself still thinks of himself as a horrible murderer with bloodstained hands. Not helped by how Kyros thought him teaching Rebecca self-defence skills was a failure on his part as a father (instead of him doing all he could in the horrible situation they were stuck in; teaching Rebecca how to defend herself was absolutely justified, and Kyros shouldn't have blamed himself for anything there).

Kyros didn't think he deserved to be with his daughter because he wasn't a good father, because was a monster. And Kyros could not believe anything other than that until Rebecca essentially forgave him, by explicitly telling him she wanted them to stay side-by-side. That she wanted him, and no one fucking else, as her father.

And I once again repeat myself just a little as I ask; how would Luffy feel if he found out Crocodile was his father? How would Luffy feel if he found out the reason Crocodile was going to destroy Vivi's country was because he was trying to protect his son from the WG? And that son was Luffy himself? How would Luffy feel that the asshole who stabbed him through the gut, mummified him and poisoned him was his very own family? Who also saved Luffy's life the second he learned of their blood connection? How would Luffy feel in that situation, if he found out Crocodile cares about Luffy, and wants him to be okay? And how does Crocodile feel? After stabbing Luffy through the gut, mummifying him and poisoning the brat, does Crocodile feel like he has any right to call himself Luffy's parent, let alone father? He knows Luffy rightfully hates him for all the horrible things he has done, how could Luffy ever accept him?

The past is in the past and it can't be changed. But you always have the choise, the free will, to change yourself and become a better person. You can choose to do better things, to help others and be kinder. You can have a second chance.

Robin was given a second chance. Hacchi was given one too. Kyros was given that chance to become better. So why not Crocodile?

[longing-for-rain]

hey there!

please don't take this the wrong way, because i'm genuinely just asking. i've seen your criticism of aang and kataang appear on my dash from time to time, and it just got me wondering: how can you enjoy the show?

i understand that you feel passionate about katara, and i suppose about the entire story, but. aang is like on screen 90% of the time, and he gets his happy ending too (as happy as it can be, of course, with having his entire culture and people on the brink of non-existence). how do you reconcile your love for the show with your dislike for its main character and how the narrative rewards him?

and once again, please understand that i'm not attacking. i'm just curious to see at what point does someone stop being a fan and start being simply critical of a certain media, if you know what i mean.

thank you for answering if you do, and cheers!:)

I just don’t pay attention to him very much. Even in the finale, Zuko’s ending and story stands out more to me. Him standing before the crowd in his sparkling crown, announcing that he wants to bring in a new era of love and peace, that’s powerful to me. Watching Zuko go from an abused boy who thinks his only worth comes from accomplishing an impossible task in his desperation to appease his abuser, to a literal king taking back his power and using it for good, is a powerful story.

As for Katara, to me, her true ending is the Agni Kai. I wrote a whole post about it. That is the culmination of her arc, where she is able to display her power and use it to overthrow the regime that she’d grown up being terrorized by. And then after Zuko was nearly killed, Katara was able to save his life just like he saved hers. The way their stories intertwined was beautiful, and it was a beautiful conclusion to Katara’s story, watching her not have to feel helpless for once and bringing the change she’d always dreamed of.

As you can probably tell, these are my favorite characters so I was satisfied by their endings. To be honest on my rewatch, I usually kind of just skim the Aang vs. Ozai fight because it’s just an anime battle. The characters hadn’t even met prior to the fight, so the emotional depth is lacking compared to the Final Agni Kai.

As for the balcony scene? I don’t watch it. And I think it says a lot that by simply not watching it, nothing is lost. It adds nothing to either character and only serves to give Aang a reward. Before that moment, nothing about the finale suggested Katara wanted that at all. Neither character played a significant role in the other’s finale arc. There was absolutely no narrative significance between them.

But there was for Zuko and Katara.

To me, Katara ended the story as a heroine and warrior, not a love interest. With Zuko, that was her ending. So that’s the real ending to me, because that’s what her character means to me.

[jiangwanyinscatmom]

Is Jiang Cheng the last Jiang? I can't remember any other named character mentioned, but was there ever a hint of cousins and other Jiang family member being alive and around?

I've been thinking about certain characters' ending, after seeing the umpteenth complaining of why their fave antagonist didn't get a happily ever after, how it is so unfair that they are alone and sad, and they didn't get any closure yadda yadda, you know the type. And anyway, while MXTX keeps it realistic with gentry not facing real consequences for their actions, I feel like there is a sense of narrative justice to their ending. And that got me thinking whether he is the last Jiang alive because his future prospects aren't looking good either so the on-page ending of the character who led an ethnic cleansing being the last of his bloodline is very poetic, I think.

Good day, anon.

As far as we can infer, Jiang Cheng is the last of the immediate patriarchal line for Yunmeng Jiang. We are not told that Jiang Fengmian had any other siblings to say if Jiang Cheng or Jiang Yanli had any cousins in the event an heir was lost. This is also may be why Yunmeng Jiang was adamant that Jiang Fengmian marry as quickly as he did because he was the clan's only child with no fallback with close relatives to claim the seat if he died. We see the mess of the Jins own bids for political power with Jin Guangyao the unwanted son claiming succession as the only blood left of Jin Guangshan and Jin Ling at the end stuck with it after as the next blood heir.

If they did have relatives, more than likely they were generationally distant and not close enough to the major bloodline to be considered successor heirs even in a pinch. The only other relatives we see around Jiang Cheng, are the Yu's when it came to the audio drama extra regarding Jiang Cheng's marriage prospects. It was left to the family matriarchs to matchmake. If there were immediate Jiang aunties alive, they would have been organizing his marriage prospects as patriarchal family took precedence.

So there were no challenges to Jiang Cheng's inheritance at any point and why Madam Yu's claims were so ridiculously stupid by always saying Wei Wuxian was Jiang Fengmian's bastard. She all by her own self was undermining his rightful claim with that one (his own mother had no respect for him and what a slap in the face because she sure used him as a shield when convenient to claim rights).

And Jiang Cheng got the ending his karmic actions accumulated. Why then would he be awarded a kinder end when he enacted no kindness to grant him relationships and ties for a "happier end". MXTX as a writer does not reward happy ends to people that have done nothing deserving of it. He got what he deserved. Nothing less and nothing more as did everyone else in the novel based on their karmic consequences to their karmic action.

[batboyblog]

https://www.tumblr.com/batboyblog/767861339473510400/see-i-kind-of-get-the-idea-of-wanting-her-to-at

And frankly, if regular people had done THEIR job of voting in a Harris presidency (especially the more "informed" non-voters or anti-voters who prioritized their own ego), then McBride wouldn't have to make these kinds of difficult choices (at least to the same degree, since I don't doubt transphobes would still do their bullshit) in the first place.

yes.

Nancy Mace who's leading this charge just cares about being on TV, literally thats it. Back in 2021 she was selling herself as pro-LGBT, even saying she was in favor of "transgender equality" now she's screaming about trans women being really men. Why? well in 2021 it looked like there was space for Republicans to move on from Queer bashing and she wanted to get interviewed and be on TV for being part of a new breed of Republican. After this election many people agree transphobia was a useful wedge issue for Trump so she's gonna be the most transphobic of them all, again just to get on TV. So yes, if Kamala Harris had won Nancy Mace wouldn't be doing this because this is only motivated by her wanting to be on TV.

In a bigger sense, if Democrats had won the House this wouldn't be happening, Republicans might rage and stamp their feet about it, but a Democratic Speaker would tell them to kick rocks.

So yeah past McBride herself, the 2024 election was a test, "is transphobia a workable electoral issue" and the answer was "yes, yes it is" so transphobia is gonna be worse, it told Republicans that being transphobic and running on bullying trans people works so they're gonna do more of it, and for Democrats it showed there were few if any electoral rewards for sticking up for trans people. I remember when Harris very first became the candidate there were a series of huge organizing calls, so big they broke Zoom a few times, Women for Harris, black women, black men, white dudes for Harris, etc and I kept thinking "geez there really should be a trans people for Harris" there was a generalized LGBT one which had big names but if there ever was a trans one it was not well marketed. Point being the election did not see a big trans mobilization, which is very bad, you're seeing a few Democrats break ranks and ask "if we get hammered on this issue, and lose elections, and don't see any mobilization or support, should we moderate?" If Harris had won the narrative would be "voters don't care about trans issues, its a loser to run on transphobia" but she didn't so we're in this darker timeline

And being in this darker timeline a good starting point to clawing your way back is to have the ONE! trans member of Congress, the ONLY national trans figure's back at all times. Because beaming the message that even a trans Congresswoman doesn't have the support of the trans community will tell every jumpy Democrat that they're right to be thinking about ditching trans rights.

[benisasoftboi]

I am so happy with the conclusion of BBC Ghosts.

There were so many things I loved about the final series that I can't even keep it all straight in my brain, I'll have to rewatch it all (and the Christmas special, of course! Must remember it's the not the true end yet!)

But something I can immediately say I loved was what they didn't do. See, that line in the trailer that turned out to be from episode 5 - about there being a pattern to when they move on - worried me. One of the best things about the show, to me, is how there truly is not any reason at all to why the ghosts are there, or when they go. It's something the creators have said over and over, and that the show has always backed up; we saw so many times that, unlike in most ghost media, addressing unfinished business or achieving emotional resolution changes absolutely nothing. Pat hit some sort of emotional resolution three times. And Julian realised the importance of family, and Robin saved someone’s life, and Thomas discovered the truth of his death, and so on and so on. Finding closure isn't the end, and equally, the end isn't predicated by a climatic conclusion. It just happens. And the same is true for why people become ghosts. It just happens. And you exist, and fill your days, and then you’re gone. And no one knows why.

It's kind of the most agnostic television show I've ever seen.

I love that. Every other afterlife show I've ever seen has some kind of reward and punishment system. Or at least says that there's a reason for things, some kind of higher power at play, not necessarily a god but something like it. Even the American adaptation felt the need to bring Hell into it, which is why I need to specify that I'm only talking about the British version here. And I feel like a lot of fans wanted there to be reasons too, or felt like there simply had to be, that it wasn't even a question. I get why - it's not just because it's the standard for ghost narratives. It's really uncomfortable to think about the randomness of life and death. But Mary didn't go because of anything that happened before that day, and Cap was never going to go because he came out, and one day, when they've all gone, there won't have been a reason for it.

Because the real point of BBC Ghosts is that there is no point. You’ve just got to make it through the days, surrounded by people that irritate you, trapped in a confusing world where you’re mostly powerless. And it sucks, and you're angry, and sad, and bored as hell. And you also find happiness in the mundane chaos, and you get really good at chess, and watch the ants in the garden, and write bad poetry, and read terrible romance novels, and gamble money you don't have, and go camping, and play games, and learn French, and watch reality TV, and have sex with a decapitated Tudor nobleman’s body, and dance to old music, and look at the stars, and find that you actually really love all those annoying people after all, and that’s the point.