#and getting people to write has been my ultimate goal this whole time!!!

[mlynar-nearl]

Młynar n Toland got me so fucking unwell I’m writing for the first time in 8 years, old men yaoi really is a infectious disease. 😔 Got infected from your fics, godspeed.

[ironunderstands]

2.1 was so good holy shit (spoilers, obviously)

GOD THEY ATE AND IM SPECIFICALLY GONNA TALK ABOUT HOW WELL THEY WROTE RATIO IN THIS BECAUSE IM FOAMING AT THE GODDAMN MOUTH IT CHANGES HOW YOU VIEW EVERYTHING BUT IN A GOOD WAY.

so, let’s start from the beginning in 2.0 I want to walk you through my experience of it

ratio mean to aventurine, everyone gets mad. I feel weird about it, pre-2.1 I come to the conclusion that he got used as a plot device in that scene, since being racist contradicts his core motivations and the dialogue is awkward and has no real reason behind it, I chalk it up to bad writing but ultimately forgive it because 2.1 seems centered around Aventurine so they need setup for that

2.1 drops, my bsf plays the update throughout the night and we are losing our shit. He gets to the part where Ratio “betrays” Aventurine. I fucking lose it, I try to reconcile this with my preconceived notions of ratio, they don’t match up at all, his behavior that whole time doesn’t in the slightest. I am confused, I wonder if I have been wrong about him this whole time, if his whole speech on the Space Station and his character quests were some kind of fluke. I mean it could be in character? Knowledge of how a stellaron works could save millions if not billions of lives, invaluable information which Ratio would have trouble turning down because of its value. It still feels deeply wrong, Ratio isnt a backstabber, and he wouldn’t so easily bargain with Sunday over information he has no confirmation of (and could likely obtain in some other way).

The story continues, me and Haseeb (aforementioned best friend) are still pissed, I’m losing it because my favorite character just did something so unforgivable and out of character and I feel like a complete and utter idiot for interpreting a character to be a good person when they so clearly weren’t. Well, I (luckily) was so so so so so so so wrong about that, as it was all a setup, a plan devised by Aventurine to distract Sunday and forward their goals. I’ve never been happier, and suddenly every weird behavior, every “this doesn’t make sense” goes from “bad writing” to perhaps one of my favorite retroactive twists in fiction.

Ratio belittling Aventurine for his background doesn’t make any sense, I mean we literally saw the guy give a whole ass speech about how he believes all people deserve access to knowledge and that everyone is capable of being creative and having intellect, but that they just have to try for it, and if they are incapable of it, he DOCTOR Ratio is there to lend a helping hand. To cure the galaxy of stupidity, something which he views as not the lack of knowledge but rather the misuse and misinterpretation of it, how he depises the Genius Society because they mostly do not try and use their intellect from the betterment of other, and actively guide/encourage other scientists (and in Hertas case the researchers at the space station) to view knowledge as some sort of prize or commodity rather than tool. This notion is what causes Screwellum to acknowledge that Ratio is more like a medical doctor than a scholar. And this notion is something Sunday Isn’t Aware Of.

Sunday doesn’t know who Ratio really is, he may have heard of his various exploits, but Ratio has a reputation for arrogance, bluntness and insensitivity, something which Ratio plays up to the nines. The 2.0 scene with Aventurine goes from seemingly massively OOC for Ratio to him actively playing up his negative reputation to play into Sundays perceptions of the pair for their plan. Ratio->

a) makes it seem like Aventurine fucked up and he’s mad at him for losing the cornerstones, something which Sunday would see and go “hmm they don’t like each other

b) this “oh I can drive a wedge between them” notion gets worse (although in their case better) when Ratio brings up Aventurine’s (not entirely accurate) background. Sunday now thinks he has leverage over Aventurine and even more of a chance of getting Ratio to betray him. Ratio also makes it seem like he just learned this information by stating he “did his homework” and this supposed unfamiliarity with one another would give Sunday more confidence to try and drive a wedge between them

c) this makes it seem like the IPC are unaware of the Families constant surveillance, as it looks like they are having an important conversation in a private room, which would make Sunday think they are unaware of his eyes and ears everywhere

Now let me qualify this notion with more evidence because you could still try and argue that the deal Ratio and Aventurine struck was post 2.0 argument

Topaz (my glorious Queen). At the end of the 1.4 (or was it 1.5?) Belabog quest she has a conversation with Aventurine in which he requests for her help in Penacony, and we do not get a confirmation on if she said yes or not. Until 2.1, in which the the Topaz (and Jade) stone in in Aventurines possession, meaning she took him up on that offer prior to 2.0 because how else would he bring multiple cornerstones there, which we know there are many because Ratio says he lost the cornerstones, not just his own. Topaz would not give this item up easily or on a whim in between 2.0 and 2.1, meaning she would have to be let in on his plan prior, meaning the plan was formed prior. Since Ratio was also assigned to this mission keeping him in the dark would make negative sense and actively undermine their collaboration, something which he brings up in their fake argument

2. The Final Victory Lightcone. I originally thought this scene to be after their argument for complicated reasons, the most important of which being the minor snippet of conversation we see between Ratio and Aventurine during the first time we meet Acheron. Aventurine mentions 3 chips, Ratio doubts him, and the lightcone description starts with Aventurine questioning his doubt and firing three shots, a perfect correlation that made me place the order of events in that way. However, we get to see the snippet of conversation between Aventurine and Ratio in game, right before they meet Sunday, not prior to the lightcone events. However, they are still clearly connected for aforementioned reasons, just in a different manner, let me explain. Now we know the three chips reference not bullets but the three cornerstones, and Ratio openly expresses his doubt because the family is always watching (something which I will get into) and because a part of him does doubt this plan will go well. However, Aventurine prior reminds him of the events of the lightcone with the three chips. My interpretation is that Aventurine took that gamble in the lightcone to convince Ratio to go along with his crazy plan since if he can win a game of Russian Roulette with an unwavering smile on his face he an insane gamble means nothing to him (ratio doesn’t buy it because it’s ratio but the sheer audacity or you could say the “charming audacity” makes him go along with it). In my opinion this scene only makes sense pre-penacony, due to the timeline of events, which is why I believe it the reason for the events in it has to be Aventurine trying to convince Ratio to join in.

3) The family is always watching. During the 2.1 story quest it gets brought up several times in many different ways that it seems like the family has eyes on everything and everyone. Sunday’s fuckass bird is everywhere, and the man himself (minus being a goddamn biblically accurate angel) is covered in eye shaped shit and possesses close ties with the Harmony, which lends itself well to a character that knows things considering the Aeon itself is a conglomeration of many different perspectives. He fucking perception checks Aventurine, when the crew goes to look for info on firefly they learn the dream pools monitor people’s vitals and everything, even producing a dialogue option where the trailblazer states they feel like their every move is being watched. Topaz gets stalked by bloodhound members upon arrival, I could go on. TLDR Sunday knows almost everything that’s going on in Penacony, this is what leads him to believe the traitor is within the family, and his access to knowledge is something the IPC 100% knows about. I mean they have been presumably attempting to try and get it back for a while, and they would reasonably extensively try and learn everything about it. The Family notoriously hates negotiating with them so the IPC either learning and/or coming to the conclusion that the Family is watching their every move isn’t a ridiculous notion. If this conversation was genuine, if Ratio truly wanted to discuss this matter with Aventurine, why would he do it in a likely wiretapped, not very soundproof room where any passerby could hear Ratio loudly exclaim that Aventurine lost the very important cornerstones and that he is also one of the most despised groups in the galaxy because that would really do numbers for both their reputations. If you think about it, this not being staged is an incredibly stupid blunder on Ratio’s end (minus the deliberate OOCness) because of all the places Ratio could set up a very important meeting he does it in one of the worst places ever.

4) The dialogue in the scene. It’s awkward, it’s so awkward and the whole “also my family died I didn’t get an education” seemed so tacked on the first time I watched it. Knowing now, it seemed so tacked on because it was, Aventurine had to shove the info in there somewhere and their incredible conversational skills decided that was the best part in there. Ratio fucking leaving before Aventurine is even done talking goes from a “huh weird” to a “wow he is really playing up this arrogant scholar role”. And if Ratio is playing the arrogant scholar, Aventurine is playing the dumb, helpless, blonde to a T. Losing the cornerstones and acting nonchalant about it, letting Ratio insult him so callously and letting the insults slide, talking absolute nonsense at the end about random things that don’t matter, sadly lamenting into the distance that he’s alone again. Bro is playing it up and I live for it. They also and play up these personas in their little adventure prior to meeting Sunday, Aventurine asks stupid questions like wondering about the species of the bird that make up the statues and talking about how he wants to play in the sandpit and even insulting Sunday a bit, behavior that would make Sunday think him unprepared and unserious rather than cold and calculating. If Aventurine does that well, Ratio plays up his arrogant, uncaring scholar persona to the nines. He insults any and every decision or thing Aventurine does, loudly sighing of how happy he is to finally have some peace and quiet when Aventurine leaves his sight for 0.00008 milleseconds, pointing out his sarcasm, beefing with a random Pepeshi bodyguard no reason, pointing out his sarcasm, just the exaggerated way he talks in general, and suggesting he admit Aventurine into the Genius Society (even Ratio wouldn’t stoop so low as to suggest Aventurine was worthy of that).

Moreover, this is really, really tragic because I do think there are several moments of genuine banter and fun the two share “Ratio, you’re huge!” was not added to the script to enhance the plot guys. And obviously Aventurine knows most of Ratios behavior is acting, however he has such severe trust issues, and Ratio is so damn straightforward and blunt that he worries the man was serious about some of it which just breaks my heart. Soft Ratio please add it give me one conversation, the note at the end of 2.1 doesn’t count it’s too short.

Ultimately, knowing what I know now I can’t help but view the 2.0 conversation with Aventurine as being anything but staged, it simply makes no sense otherwise, and it happily obsolescent Ratio of his sins. This was a bit incoherent I honestly just wanted to rant (if you couldn’t tell haha) but I hope you enjoyed it regardless. I need sincere Ratio more then I need oxygen and I’m not afraid to say it.

[amaltheas-garden]

What's your take on Dany being a misunderstood villain in the books? How much likely is it that she won't be the Mad Queen and will not get dark dany?

To answer your second question, dark Dany is almost a guarantee for the books. One of the most unique aspects of Dany's characters is that she is a woman fulfilling the role of an almost exclusively male archetype: the corrupted hero turned villain. She begins the story as an underdog we want to root for, she comes from a great noble bloodline and her family has been terribly wronged (from her pov), and she decides to use the power she does gain to do good. Her character arc could end right there and she'd go down as one of the best written heroes in the fantasy genre. However, her story does continue, and we see her grow increasingly frustrated by her own lack of abilities in enacting the change she wishes to see. We watch Dany make compromise after compromise until she's had enough and decides to embrace her fire and blood side if it means gaining enough power to exert control over her society and mold it how she sees fit. Even if her intentions began noble, the endless pursuit of greater and greater power, represented by the growing size and danger of her dragons, will be what corrupts her. It's impossible to think that grrm, the guy who's favorite thing to write about is the corrupting nature of violence and the negative impact the exertion of unrestrained power has on the perpetrator, would write a series about how thee most powerful character was actually justified in her pursuit because... she wants to do good? My interpretation of Dany's "fatal flaw" has always been a need to control her surroundings, stemming from the horrific abuse she endured as a child and later wife, and why I think she does have genuine compassion for the enslaved people of Essos; what could be a worse fate than not controlling your own life? And this is where her love of fire and dragons comes from. Dany describes fire as a cleansing force that makes her feel powerful and new, and the dragons are manifestations of her desire for ultimate freedom. While her dragons are quite small and Dany is still coming into her power as queen, we see more restraint in how she fights her battles, how she negotiates, and how she governs, all while wishing her goals of widespread societal change could happen right then. Now that her dragons have grown large and powerful and restless, we will likely see a Dany with far fewer qualms about using them to get what she wants. And after this goes well for her, her restraint will begin to dwindle. After all, if she can use dragon power to instantaneously get what she wants and change things for the better, why should she approach conflicts any other way? But as we've seen with Cersei, fire is a wild, uncontrollable substance that spells destruction wherever it touches. Dany's enemies have all been one note cartoon villains in how evil they are, and every time one gets taken down, it only bolsters our (and Dany's) belief in her righteousness. I think this is very intentional on grrm's part, as part of his whole gimmick and why people like his writing is his incredible ability to add a level of nuance and even empathy to the most minor and despicable characters. I see no reason why that quality should be so utterly lacking in the characters of Essos if not for the fact that grrm very much wants us to cheer Dany on as she crushes her enemies, only to pull the carpet out from under us when suddenly she is face to face with Westerosi characters we know very well, and would prefer not to see die by dragonfire. Season 8 might have been shit, but Tyrion's speech was on point. In short, Dany's desire to exert control via an uncontrollable power will be her downfall.

As for the first question, by "misunderstood villain" I'm assuming we're talking audience perception, in which case... yes and no. I think Dany is a perfectly understandable misunderstood villain because grrm makes a point to show every step of her character's evolution in the transition from frightened girl to possible savior, and finally a tragic villain. Some readers reject the "villain" characterization altogether, and there's really no way to validate one interpretation over the other until TWoW comes out (lol). I will say, I do think most hero-Dany analyses have tunnel vision when it comes to her and an unwillingness to see the writing on the walls, for what a lot of us see as a very slow, well thought out, and GRADUAL corruption arc.

[ivanttakethis]

top 5 worst ivan mischaracterizations ( aka could you list five worst traits people give him that are just totally wrong) i love to hear people complain but if you don't want to you can ignore this ask have a good day

Anon I am SO glad that you asked!

Ivan is my favorite character in Alien Stage because he’s really complex.

I could talk about him and his characterization/mischaracterization all day and still have more to say after that. Now you’ve given me the perfect opportunity to write a bunch of my thoughts down.

These complaints are in no particular order and are ultimately subjective.

Also, I’m not a Patreon supporter, so I can’t comment on anything that might’ve been confirmed or debunked over there.

Top 5 Worst Ivan Mischaracterizations:

Ivan is an unfeeling and emotionless person

Ivan was trying to kill himself and Till during Round 6

Ivan hates Mizi

Ivan is arrogant

Ivan is violent

This is going to be a long one, so I’m putting everything under the cut. Let’s begin!

1. Ivan is an unfeeling and emotionless person.

I find this mischaracterization to be one of the most frustrating because there is so much evidence to the contrary.

As a child, Ivan is described as someone who struggles to express his emotions and connect with others (imo he’s neurodivergent-coded, but that’s a whole other discussion). But notably we’re not told that he doesn’t experience emotions.

This official art kills me every time I see it because it shows that Ivan knows he’s different from the other children and that it probably makes him stick out and he wants to fit in somehow so he tries to practice/fake it so maybe he won’t be so alone (the imitating behavior is also coded imo).

Beyond all of that, we see plenty of times throughout the series that he feels things, rather intensely even. He’s wistful about the stars and meteor showers and the thought of freedom. He has a curious nature, observing others, wanting to learn more about how they work; how he can emulate them.

And then there’s all of the feelings that well up when it comes to Till. The most obvious is that Ivan loves Till, in his own fucked up way. But there’s more to it.

He wanted attention from Till (maybe the first time he’s ever wanted something in that way). He did everything he could just to get Till to even so much as glance in his direction. All of the fighting, and the bickering, and the instigating was because Ivan craved reciprocation. He grew obsessed.

When Ivan managed to free both himself and Till, he was thrilled!

And when Till let go of Ivan’s hand to return for Mizi, he was very clearly heartbroken.

Ivan felt jealous of Mizi and Sua’s relationship, knowing that he would never have that chance with Till.

Ivan felt lonely because he thought Sua was just like him, only to realize that wasn’t true (because Mizi loved Sua back) and he had no one to relate to.

Also, the entirety of Black Sorrow?? Hello??? He was yearning for more than what he could get. He was resigned to his minuscule place in Till’s life. The song is full of mourning and sadness and grief.

In Round 6, I believe Ivan knew what he was going to do.

He was desperate for anything he could get from Till in his final moments. I think that’s part of why he kissed Till. If his only goal was to deliberately lose, why not skip the kissing and go straight to choking?

Ivan was a dying man overwhelmed with emotion and he desperately wanted Till to look at him, see him, make him feel content for the first (and last) time in his life.

Even if some of these emotions are not necessarily healthy, it shows that Ivan was capable of feeling something.

So… yeah. That’s why I really dislike the emotionless characterization of Ivan. There’s so much depth to his emotions and character, but some people just skim the surface and reduce him down to nothing more than a cold and stoic person.

2. Ivan was trying to kill himself and Till during Round 6.

This one is probably more often a misunderstanding than a mischaracterization of Ivan. I think some people may have seen IvanTill referred to as “toxic” or “obsessive” love when it came to how Ivan felt and behaved around Till and thought Ivan was on some “if I can’t have you, no one can” shit, but that completely ignores the wider context of his character. Ivan was devoted to Till to a fault.

To Ivan, Till was his reason for being. Till was his universe. His god. Till was something to be revered, protected, and worshipped. Ivan couldn’t live without Till. That’s why he sacrificed himself, so he wouldn’t have to continue on in a world without him in it. But he also wanted to protect Till, no matter the cost.

Pretty much everything Ivan did was to protect or care for Till: trying to escape Anakt Garden with him, watching over him after Till was attacked by the aliens in the club, freeing him from his collar over and over and over again, every chance Ivan got.

Nothing about Ivan’s feelings or behaviors toward Till suggests that he would ever harm him, let alone kill him. There’s a reason why when Ivan was “choking” Till it didn’t look like he applied any pressure, there was no struggle for air on Till’s end (even if he had mentally given up, physically there will be some sort of reaction to having your airway compressed), and we don’t see any marks on Till’s neck afterwards.

It didn’t matter what happened to Ivan as a result. Till was the only person who mattered to him.

He would do anything for him. He would quite literally rather die than have anything happen to his god.

Ivan only ever knew how to give all of himself to Till, giving up his life was inevitable.

3. Ivan hates Mizi

I’ve seen this one more so in fan fiction, usually for angsty circumstances, but this just completely sidesteps their canon relationship, which is positive and, dare I say, friendly.

He gave her piggyback rides when they were kids! In the lead up to Alien Stage, we see them chatting and Ivan being pleasant towards her in a sort of “big brother” type way without hiding some sort of darker emotion behind it.

Now, is Ivan envious of the relationship Mizi has with Sua? Yes. Does he hate that he’ll never get to have the connect they have with Till? Yes. But Ivan hasn’t given any indication that he hates Mizi herself. And I think that’s an important element of his characterization.

Yes, he has negative feelings surrounding Mizi, but he never takes them out on her or lets himself feel negative towards her as a person.

Edit: I started writing this section BEFORE we got the official art of Ivan hanging out with Mizi, but holy fuck am I glad I took so long to finish this because now it’s canon that Ivan got along well with Mizi and they were even close as kids despite the fact that Ivan loved Till and Till loved Mizi.

In conclusion, Ivan and Mizi were reasonably close and (imo) would’ve been besties in slightly different circumstances. Ivan is NOT a Mizi hater!!

4. Ivan is arrogant

Yes and no. On the surface, Ivan comes across as mature, confident, and in some cases arrogant, but as we see more from his perspective it quickly becomes clear that the arrogance is just a mask he wears for others.

Deep down, Ivan is very insecure and his self-esteem is almost nonexistent. He views himself as insignificant, twisted, unworthy. He vilifies everything that he feels and does. (“Thank you for being a victim of my shallow emotions” anyone?) Ivan fully convinced himself that Till wouldn’t give a shit about him if he died to keep him alive. That’s not the behavior of an arrogant person. Far from it.

His arrogant mask acts as a shield to keep others from seeing the monster he thinks he is. He’s even kept parts of himself out.

I think that’s also where his tendency to be an asshole comes from. Keeping people away, not wanting or knowing how to drop the arrogant mask, internalizing everything, projecting onto others (like that whole talk with Sua about self sacrifice).

So basically:

Characterizing Ivan as an insecure person who hides behind false confidence/arrogance to keep people from seeing the real (and somewhat fucked up) him? Great. Fantastic. Love to see it.

Characterizing Ivan as an arrogant asshole “just because”? Terrible. Hate it. You burned my crops and killed my cow.

5. Ivan is violent

I don’t know how this one came about, but it rubs me the wrong way so I’ll touch on it here.

We know Ivan instigated physical fights with Till when they were kids because that was the only way to consistently get Till’s attention (not saying I condone that btw). But outside of that, I don’t think Ivan has been violent with anyone else? And would he even be violent with Till like, recently?? I would say no.

Now I do think Ivan would resort to violence to protect Till, but nothing beyond that. I don’t don’t even think he would use violence to protect himself.

He’d probably just revert back to being a “perfect” obedient pet to avoid or diffuse confrontation. That’s what he did as a child; while Till fought back every chance he got. Till’s fighting spirit is probably one of the things Ivan loved about him. Maybe in part because he couldn’t find it in himself.

————————————————————

Anyways, those are my Top 5 worst Ivan mischaracterizations! Thank you for coming to my TEDTalk 🖤💙

[genericpuff]

Hey quick question.

How do you know if you should make a webcomic? I have this story idea that’s been floating around in the back of my head that I think could work well for a comic series. But the problem is I’m mainly used to writing screenplays and more traditional writing.

What I’m saying is, how can I tell if making a webcomic is worth it or if I should stick in my comfort zone?

I mean, there's no definitive right answer when it comes to "knowing" if you should make a webcomic. It really just comes down to you. Do you really like the medium? Do you feel your story has to be told within that medium to achieve its goals?

Same thing goes for whether or not it's "worth it", it really comes down to how you define that. For some people, simply posting their comics online to a few readers each week is worth it. For others, if it doesn't get into print or publishing or whatever have you, it might not be quite so justifiable to keep up with. Neither is better or worse than the other, both reasons are valid because it ultimately comes down to what we as individuals are trying to accomplish and what we define as "worth it" on a personal level.

I actually live on both sides of the spectrum right now because with Rekindled, posting it on Tumblr and getting all the great feedback and company through the audience it's gained makes it worth it. But that worth was defined by my expectations going in - I wasn't making Rekindled for money (legally I can't), I wasn't making it to get an Originals deal or anything of the sort, I was just making it because I found myself deadset on going through with it after months of it living in my head rent free, and so what I've gotten out of it as a result is very much worth it, all I was really looking for was maybe some other readers who would enjoy reading a transformative 'foe fiction' from a former LO fan and I've found those readers in spades simply due to the demand.

Time Gate, on the other hand, was something that I wanted for years to be a 'successful' project, defined more by actual tangible growth and gain. Because I came up with it as a kid, for a long time it was my "magnum opus" project, the thing that I wanted to see get turned into books and an anime and a video game and all those sorts of things as 'proof' of how good it was. Of course, I know now years later that those expectations were WAY too high and it resulted in me feeling incredibly depressed over it for ages. It made it hard to work on and even though I did have some readers, I didn't see it as "worth it" because my expectations were a lot higher than that of Rekindled's going in. But that was simply a matter of experience at that point, because I had been making original comics for so long, when I went into Rekindled I knew a lot more what I was capable of, what I wasn't capable of, and what boundaries I was willing to put down for myself. Even still, I do still want to return to Time Gate some day and when I do, I want to still treat it like a series I want to get off the ground as an actual published piece of work - it's just that this time around, I actually know how to make those steps and be proactive in my approach (and I know where to keep my expectations) which is certainly a perspective and skillset I didn't have when I was 15 LMAO

I will say, realistically speaking, it is a lot harder to pursue webcomics as a writer, because the reality of this medium is that most people who go into it are artists who learn how to write to make a webcomic, not the other way around. Unless you're willing to learn how to draw - which is a whole other skillset that requires years of work and patience - you're likely going to have to seek someone to collaborate with and - I cannot stress this enough - it's not going to be someone you simply find on reddit who's willing to work for free. Again, many of us as artists went into webcomics with a project already in mind, so most artists are already working on their own passion projects, trying to convince someone else to work on yours is just not realistic or fair. I'm fortunate enough to have @banshriek along for the production of Rekindled and even then I still pay for their contributions out of pocket, they're as invested in an LO rewrite project as I am (and thus they're given a lot of room to make suggestions in both the set designs and the writing), and I still had to carry the first 20ish episodes on my own before they joined along, i.e. I would still be making Rekindled if they weren't onboard, but having them is a massive help that's taken the comic to a whole other level in its artistic production.

But that doesn't mean it's hopeless! There's a lot of interest right now in webnovels and writing comic scripts is still a completely viable way to get into the comics industry if you're really interested in doing so (fun fact: before I was making comics, I wrote fanfiction! This is probably not shocking to hear all things considered LMAO) There's a reason Webtoons owns Wattpad now, webnovels are a no-brainer when it comes to adaptations to visual mediums, and webcomics have become part of that environment by extension. So at the very least, if you want to get your story out there, there are loads of ways to do it that don't require you to make a comic - but if you really want to make one, there are ways to get into that industry through writing in other ways such as pitching scripts to comic publishers and/or going indie with webnovels. Ultimately, if many of us webcomic creators stopped drawing our works, we'd still be coming up with stories to write, because that's what's really at the heart of these sorts of projects. So even if you can't get into comics right away due to lack of visual artistry, that doesn't mean it's off the table forever ( ´ ∀ `)ノ～ ♡

Sorry, that was a lot of rambling but I hope it helps ! Remember to keep your goals and expectations manageable, and most of all, write lots! You'll be doing it anyways regardless of whether or not you get into comics, so whatever value you see in getting into comics is up to you to determine! You don't have to know right away, it might be something you'll find along the way or have to adjust as you get more experience, but don't stop yourself from getting creative and messing around until you find out what works! You won't know if it was worth leaving your comfort zone until you try it <3

Good luck! (•̀ᴗ•́)و

[rainba]

Listen, I love, love, love, Luka so much… however…. I feel like he’s missing something. Maybe I’m just having trouble envisioning him in my head. It may be that I can’t read people very well so I don’t really know if he likes me, but I wanna see the look on his face after I kiss him for the first time. I wanna see the reaction to my fear when he threatens me. I wanna see how his body reacts so my touch. I love him, but for me, I feel like he’s missing a little pizazze in comparison to Kairos. Thank you so much! This is in no way critiquing Luka, his character or your writing, I just wanna have a better idea of him in my head.

(Can I be 🏵️ anon? I’ve sent in a few asks before this so yay :))

Thank you for the questions! It actually has me thinking more about Luka and his entire character as a whole.

I think that is a big part of Luka: it's hard to get a read on him.

Luka is a man who typically has something of a flat affect. Nothing in life particularly interests him; everything is somewhat boring. He's mastered the art of faking emotions around other people.

There's a part of him that has always wanted to feel something more. A part of him that yearns to know what it's like to love and be loved, what it's like to feel alive.

When he falls for you, he finally gets to feel all of the things he's been (basically) missing out on.

When Luka first kisses you, he freezes in place, his heart skipping a beat as his lips finally meet yours.

When your hands touch his body, he feels an unfamiliar warmth in his chest. All he wants is for you to touch him even more.

When he sees the way you squirm due to his teasing, he can't help but feel pure adoration, smirking all the while.

All of these things, all of these brand-new feelings... It makes him want to possess you entirely.

When Luka falls in love with you, he's willing to do anything to have you, it doesn't matter how horrible it is. By leaving him behind, you're essentially taking his life away.

But also... Luka is just a man who likes to have control; control over both himself and others. It's in his nature.

I think you're right in the sense that he's somewhat missing something- it's probably because I haven't really focused or honed in on the side of him that can't control the new emotions he feels when he's around you.

I haven't really explored the love-struck, obsessive side of him.

I mostly tend to focus on his thirst for control and his deep sense of possessiveness.

I think it'd be interesting to explore that other side of him more! ᕕ( ᐛ )ᕗ

Luka definitely keeps his emotions extremely well hidden. He could be sweating nervously, his heart pounding in his chest, mind going blank, and he'd still have a neutral expression.

My original intentions for Luka were to have him be a more dominant, stoic, possessive man with a predator/prey dynamic between him and his darling. However, as I kept writing for him, I added on the fact that his darling is the first person to ever make him feel alive.

So, basically: a cold, emotionless character who finally feels warmth and life via meeting his darling, and he quickly grows obsessed with you. I also wanted him to struggle with managing these new-found emotions, but I really haven't done that very much at all...

I'll definitely keep your words in mind as I proceed with writing more stories about him! I've explored Luka's possessive and more animalistic side well enough, but I think it would be interesting for me to dive in to his mind and pick him apart even more.

With Kairos, what you see is what you get, basically. A super obsessive, creepy, doting, emo loser yandere guy... His personality is strong, to put it lightly! ^^;;;;;

While I try to keep my characters consistent for the most part, I also try to remember that tweaking a few of their weak spots wouldn't be such a bad thing.

My ultimate goal for my characters is this:

I want to make characters that are deeply flawed, but still loveable. Characters that could be good people, but the love and obsession that they feel for their darlings ultimately lead them to doing horrible things.

Kairos is someone who's been told his entire life that he's an unlovable freak, so he eventually grows to accept the title, and he's willing to dive into depravity.

Luka is someone who has earned love and respect from others by learning to fake his emotions and fit in with society. He's never been truly loved, and he's never truly felt love either. Luka feels no real attachment to a majority of the people around him, so he doesn't truly care if they think he's a freak when he does something depraved.

Ace is someone who's desperate to get everyone's approval and is absolutely ashamed by his depraved urges. He tries his hardest to be a good person, but ultimately, he is a victim to his impulsivity and desires.

I think with Luka, it's a lot harder to depict his character... Kairos and Ace have something strong right from the get-go, while with Luka, I have to slowly unwrap him...

I'll definitely be making future plans to develop Luka's character more soon. He's a man who's done lots of horrible things in the posts I've made, but there's been very little done to counteract the bad.

To be honest, part of Ace's purpose is to help humanize Luka a bit more, which I plan on further developing in the near future.

But, uh... Really... As much as I love my characters and love writing/thinking about them, I know that none of it is really that serious. ^^;;;;;;;

I have a passion for making characters, I find it to be incredibly fun!! It's- probably a little obvious- so...

If anyone has any comments, I'm open to hear them! I'm trying to get better at taking critiques, too. ╮(￣ω￣;)╭

And, yes, you can be 🏵️ anon! Thank you for sending the ask!

Despite everything I've said about Luka and all my doubts with writing him... I still love him ღ He's my silly little creature

[writingquestionsanswered]

I’m so stuck in my fantasy novel. My protagonists need to do some sneaking and researching and such to figure out what the antagonist is up to, but I feel like I can’t make it interesting. It’s supposed to be mysterious, but the antagonist is also smart and isn’t just leaving clues in the street. They’ve also been framed for some crimes because he knows they’re coming after him, so they can’t just go ask anybody on the street for help either. But I’m so stuck.

Adding Interest to Fantasy Investigation

Well... in any mystery, no one is "just leaving clues in the street," you know? The whole point of clues is they're subtle hints of an event that were inadvertently left behind.

So, where you can start is with your antagonist's goal and plan... what are they trying to accomplish and how? In other words, when you say your characters are trying to figure out "what the antagonist is up to,' what *are* they up to? And what are they doing in an attempt to accomplish that?

Look at each of the steps the antagonist has to complete in order to accomplish their goal and break those steps into smaller steps. Look at every facet of each step and think about ways clues might be inadvertently dropped. So, for example, let's say you have an antagonist whose goal is to get the current king dethroned and replaced by a heroic-looking usurper who is in fact their puppet, and one of the steps they need to accomplish is throwing a battle which, when lost, will cause the people to lose faith in their king. And lets say one of the steps in throwing said battle is leaking information to the enemy that allows them to ambush a supply caravan that was headed to the king's army. And lets say he accomplishes this leak by paying a peasant boy to sneak into the enemy's camp and deliver the information.

What are some clues that could inadvertently be left behind for the investigating protagonists to find? Well, for one thing, there could be a witness that saw one of the antagonist's associates coming out of a mill where he wouldn't normally have been. And maybe, upon closer investigation, the protagonists discover that one of the miller's sons was seen talking to this man and then disappeared for two days. Maybe they talk to the boy and he claims the man simply asked for directions, and explains his time missing by saying he got lost in the forest. But... further investigation reveals that one of the boy's playmates saw him in the town square, where he climbed into the wagon of a man who fits the description of the antagonist's associate. And maybe the protagonists are able to trace the journey of said wagon through a few witness reports, and find that the boy climbed out of the wagon and followed a particular path into the forest. Looking on a map, they see that this path leads due east into the enemy camp. These are not clues what were intentionally or even clumsily left by the antagonist, but rather little elements that, when looked at closely, became hints as to the bigger picture.

Ultimately, that's what you're going for here... and see how much more interesting that is? Because now there's interest in the process... finding out the associate was in the village, at the mill, and seen talking to a boy. Finding out the boy went missing temporarily. Tracing the wagon's path and they boy's path into the forest... There are many opportunities to create mystery and tension with the investigation.

I hope that helps!

•••••••••••••••••••••••••••••••••

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[mahomadjicks]

Been seeing some posts about the Q and A the clash writing team did and man…

((WARNING: light rant below; mostly me rambling about worldbuilding aaaa))

I’m not fond of what the writing team wants to do, especially since it seems like they’re hyper-focusing on the kudos/street managers. It’s this section in particular that’s got me thinking and worried.

MAN does this phrase here have a lot of food for thought. Not just because of the horror fanfic i’m making, but now things clearly seem to be taking a large turn into the ‘Manager-focused plot’ I feared Clash would write themselves into.

Idk. The way i’m thinking about it, it’s a bit self destructive writing wise for suits to be in inherent ‘tiers’. (Grunt cogs have less personality/free will than managers, ete.)

If one of the goals is to show how COGs Inc exploits and mistreats their workers, isn’t it shooting yourself in the foot saying ‘COGs inc is a horrible company to ALL its workers’, but then turning to say ‘oh yeah, all those cogs aren’t as sentient compared to THESE ones’—

Like, in the case of ‘grunt’ cogs, wouldn’t these cogs be the ‘ground zero’ of the atrocities the company commits? Literally built for one purpose in life, in a cycle of being destroyed and rebuilt constantly without any say or agency. Being held under the thumb of a dubious company that in all technicality owns you, so you can’t really leave unless you’re fired?

If the grunt cogs were just as self preserving and sentient as the managers, then the message would be hammered in better. THEY’d be the ones constantly put under all the pressure for virtually nothing. Instead, the writing team has introduced the dilemma of ‘who is aware/deserving of company rights’.

If these (grunt) suits are inherently ‘lesser’ than their manager counterparts, then it changes the gravity of the situation from ‘discriminatory company practices’ to ‘changing a piece of machinery.’ No real loss, and its business as usual. The very problem i’d imagine the writing team wants to warn and help players to recognize in the story.

While not treated much better, it’s been shown/implied that manager cogs (specifically kudos/street and Litigation) get a lot more benefits and free time than anyone else besides bosses.

Removing personality/preservation from ‘grunt’ suits changes this element in the story from ‘They have higher positions, thus better work benefits,’ to ‘They get those benefits because they KNOW that they have them in the first place.’

In general, lot of the managers seem to have the luxury of being built without a specific company in mind, having childhoods, and ultimately CHOOSING to work at COGs Inc. Many seem to forget the whole reason the kudos/street managers were hired in the first place was in response to Atticus Wing’s death.

They weren’t randomly ‘dropped in’, and now the story needs to be changed to accommodate them. There already was an explicit reason, and it doesn’t seem to conflict with any manager lore after the fact. Why bend over backwards to force them into the story rewrites more?

I understand the managers are super popular, and have been a game changer in terms of story and gameplay, but I honestly feel they’re also blinding people in terms of prior lore and potential lore avenues. There’s no need to break the story/lore further to make the ‘special’ cogs even more ‘special’.

At the end of the day, I get the writing team wants to add more flavor, and I commend them for doing all this for free! Writing isn’t easy, and this isn’t me hating on them at all. I’m just not fond of this manager-centric mindset gripping people. I’m certainly looking forward to all the future content they wish to add, specifically rewrites in toon NPCS.

Anyway just had this in the back of my mind for a minute, feel free to throw in your two cents if ya like.

[1moreff-creator]

Now that you've had some time to cool down from the Fuckfest of Friday Night, I'm a little curious on what you think of MonoTV's whole deal, because I haven't seen anyone actually talk about it much and that makes me so upset because wow Dev somehow managed to get me to care about this piece of steel

Spoilers up to the end of CH2

Hey! Yeah, MonoTV, huh? With everything else going on, this thing kinda got pushed aside, but there's been some really interesting developments indeed. I agree though, it's genuinely pretty incredible dev managed to get me to care about what up to this point had been nothing but a device for plot and humor.

You know, I originally wanted to keep this brief to give my full thoughts on the full part 2 analysis I'm working on, but maybe it's better if I just talk about it in full here and just link to this post from that one. Let me start by the theory side, because that's easier for me to write about :v

While MonoTV's creation being connected to XF-Ture Tech was always a very real possibility, the confirmation that at least its personality drivers come from them is nice. And there doesn't seem to be any type of repurposing going on:

MonoTV: Whenever I make a decision, ultimately, I must make the choice that fulfills my purpose [to run the killing game until the death of every participant]. After all, that was why I was created.

While we don't fully understand how this all fits together yet, I'm glad XF is being brought up because that might mean Min content in the future? For me, please? :,D

Anyways. Having a clearly stated goal for the killing game (killing all the participants) is also pretty useful for theory-crafting purposes, so look forward to seeing that line referenced in mastermind discussions moving forward. Not to mention, the secondary purpose of MonoTV playing the villain, with the reasoning:

MonoTV: This so-called TV show is more about appearances than you'd think.

So... ignoring the weird phrasing of "so-called TV show" as opposed to just "TV show," because I will go crazy if I look too deep into that, the confirmation that the appearances of the killing game are important seem to confirm a suspicion Teruko had back in CH2 Ep2.

Teruko: And also, [MonoTV is designed the way it is] as a way to reference that "past killing game," right?

Assuming via context that she's talking about THH, MonoTV being specifically created and programmed to look and act sorta like Monokuma could have some interesting implications moving forward, especially given things like Duke Spurling being alive to see the Tragedy and maybe wanting a recreation of the THH killing game. Thankfully there's no character with a talent for recreating things, such as art, an art forger of some kind, because if there was this could realistically point to them as the mastermind. :)

Final note about theories: I... called it? Sort of?

[Extract from Vivisection of the David MV] What I think is the best idea [regarding the multi-colored "original"] is that all the characters [which includes MonoTV] got the word. [...] I think it makes more sense to relate them to the meaning of "original style" under my interpretation, where "original style" means a change of heart.

Well, MonoTV sure had a change of personality, albeit briefly, now didn't it? (Please ignore the fact that I dismissed the possibility of MonoTV changing in the lines following that one :p) Admittedly "characters in DRDT will have character development" is possibly my least wild theory ever, but a W is a W (?).

Alright but screw theorizing that's for insane people. Let's go for character analysis, because the fact that MonoTV has become a genuinely interesting creature to study is possibly even wilder than the XF-Ture Tech name drop.

Now, a lot of what we hear character wise is similar to stuff we heard in MonoTV's previous character building moment; CH2 EP3.

MonoTV: Does a toaster know why it toasts? Does a calculator know why it adds and subtracts? They are simply machines that do their job without needing to understand why. To that end, I don't know who made this TV show and why. All I do is carry out the directives programmed into me.

MonoTV: I have no conscience, no sense of morality, no will at all. I am merely a robot, subject to the laws of my code. I have no choice but to perform the actions that my creator dictated I must. [...] All the decisions I make were already decided by whatever entity created me, because I am a robot.

It's stated in a much more melancholic tone, given the music in the background, the sprite pose, and the generally less silly "default personality," but it's nothing really new. MonoTV is a machine, it follows programming.

Except.

MonoTV: Even if I feel pain or guilt, I cannot stop. That is the fate that I have, to make others suffer. And there is no diverging from that fate.

Hey MonoTV what the fuck does this mean.

"Even if I feel pain or guilt"? Instead of "I can't feel pain or guilt"? The choice of wording here is very interesting, because it seems to imply that MonoTV does feel pain and guilt over the killing game, regardless of how impossible that should be. The "fate" drop is pretty huge for thematic reasons, as I'm sure you're aware; Teruko explains her own feelings about it in the rest of the scene, there's Xander's speech to Teruko before he attempted to stab her, Ace talking about how he was too much of a coward to fight his fate, Arei actually defying a similar fate in a way, David with the LGI lyrics, Whit and J and Rose and so many other people, all interconnected by this damn concept. I think it'd be fine if this is all we hear about MonoTV in relation to it, but there's definitely fun parallels to explore regardless.

Given how little we have of these particular character details so far, there's not much I can say about it other than I love the concept of an AI being forced to do something it doesn't "want" to because of code, and I'm interested to see if MonoTV will act differently in the future. It's supposed to reset to its previous personality in the full reset, I imagine, but it's not like we can just ignore all the shit it said here. I'm very curious to see where dev takes this.

That said, I also wanted to point out how this vague allusion to feeling pain and guilt and possibly hopelessness against fate aren't the only feelings MonoTV exhibits. Because for some unfathomable reason, it seems to care about Teruko to an extent?

MonoTV: Is something the matter, Teruko? Everyone else has already left.

Like, maybe I'm misreading because the personality change is fucking with me, but this feels like a concern more genuine than I would expect from pre-2-16 MonoTV. And...

MonoTV: You have to decide the answer for yourself.

This, along with the little speech about Teruko's humanity that precedes it, again comes off as MonoTV genuinely trying to help her through her emotions. I don't see how this correlates with its purpose, unless it somehow "believes" that giving Teruko advice on this will somehow lead to Teruko killing someone or something to that effect, which makes no sense.

If it doesn't help kill the participants, isn't necessary for the killing game, and doesn't make MonoTV seem like a villain, then it's not related to any of its purposes. It isn't code making MonoTV say this things. It's MonoTV's... consciousness? I guess? It's very, very interesting.

I am genuinely super interested in where dev is taking MonoTV, and if you told me that was a sentence I would unironically type before this episode, I would have called you insane. The writing in this series is genuinely immaculate, I can't believe we're getting genuine basis for MonoTV angst and it's compelling. Dev does it again!

Thanks for the ask, this was fun to ramble about!

[awakenedsalamander]

So I’ve been wanting to write about this for a long time (my friends can probably attest to the fact I will talk about it unprompted) but I can’t find it way to do so concisely. Here’s my best try.

Is Mage: The Ascension (in its presentation of the Technocracy in specific) anti-science?

I don’t think so, not anymore. But I want to explain why. By the way, I have to imagine that this won’t be all that accessible if you don’t have much knowledge of Mage, but you’re free to stick around if you want to.

So, here’s the thing— the Technocratic Union is pretty much a stand-in for the advancement of the scientific method, “the Enlightenment,” all that. The whole point in the first edition of Ascension is that the Union is science, the science that dispelled notions of magic, and that this is a Bad Thing. They are oppressive, heartless, and cold. The villains, plain and simple.

In later editions, this gets softened, partly due to the notion of “Science is a conspiracy the elite uses to rule the world and keep you down” becoming less fun and more toxic as it gained more sincere believers, and partly because fans really liked the Technocracy.

I think the common read is that Ascension then took the direction of the Technocracy being anti-villains— the Union has noble goals, and many of its members are sincerely brave and compassionate, but ultimately it is too extreme, too callous. It has to be stopped.

This is, to be fair, an improvement over “science is evil,” but “science is too dangerous,” is still not great. And for a long time, this was my view on Mage: The Ascension. Fun ideas, maybe, but the core conflict of the game was just too reckless a portrayal of what seemed to me like a mirror of real-world conspiracist ideology.

And to some extent, I still think that. Especially in the early editions, this is a very fair critique. That said, the game still spoke to me as I looked into it, and for the longest time I wasn’t quite sure why. A piece of it was my own opening up to the notion of our subjective viewpoints affecting our reality— something that deserves its own rambling essay— but a related part of it was me realizing that there was something about the Technocracy that rung true to me, despite my misgivings. And I think I figured it out.

See, the Technocracy isn’t a stand-in for the scientific method, but for scientism.

If you’ve not heard the term, “scientism” is a controversial (we’ll get into why a bit later) pejorative term for the belief/perspective that science, as a body, composes essentially all useful and/or reliable knowledge about the world.

Notably, those who critique scientism rarely hold the view that scientific knowledge is bad or even inaccurate, just that it is an incomplete model of reality. This is not an anti-science position, but a skepticism towards the trust people place in its ability to solve every mystery. Vaccines, for example, are great! No one can reasonably dispute the benefits and efficacy of vaccination. When it comes to medicine, the scientific method has done incalculable good— the lives saved by vaccination alone are countless.

To be against scientism, then, is not to argue that medical science is a failure, or overrated— but to point out that there is more to life than being healthy. Everyone should be glad we have learned so much about treating illness and alleviating suffering. But what of having a sense of purpose? What about love and compassion and justice? What about satisfaction, having gone through a life worth living?

Again, none of that is to say that science or the scientific community is the problem. But if you take the Technocracy as an example of scientism gone to an extreme, one in which things like kindness and equity must be left behind in favor of only the virtue of material knowledge, I think Mage: The Ascension starts to really work.

(I originally intended to write a MUCH longer piece including references to the military-industrial complex, the rise of automation and AI, as well as the increasingly algorithmic nature of culture but this is so long already. And yet I worry I said essentially nothing. C’est la vie.)

[lostbrazilian]

Ok so, i've finished SotE a few days ago and i fucking LOVED IT and i need to talk about it, particularly about Miquella. Because the thing is, i really like what From has done with his character but also i've seen a lot of discourse about it and i need to get my 2 cents in before i explode

So uh, long ass essay and spoilers below

First things first:

Character assassination my ASS

Fromsoft actually did fucking character necromancy the way they added depth to otherwise one-note characters. Even if unexpected, what we learn in the dlc makes a disturbing amount of sense and ultimately elevates the game's lore in my "humble but objectively correct" opinion. That being said, while Miquella is undoubtedly a irredemable villain by the time we fight him, his character is also much more than just the "gay evil twink" ppl make him out to be

Elden Ring's demigods, while powerful and often monstrous, are also very clearly people: they have feelings, ambitions, ideals and tragic elements about them, which is why many of them are very likeable or at least compelling characters. And Miquella is a prime example of this, because the driving force behind his character, and ultimately the reason of his downfall, is his compassion

Miquella saw the flaws of the Golden Order from a young age, mainly how it oppressed others and was powerless to help his sister. And everything he has done since has been in an attempt to bring about a better, more compassionate world for all. And while the way he manipulates others and removes their free weill is a clearly nefarious aspect of his plans, that doesn't mean his kindness wasn't genuine, for two main reasons:

First, many of Miquella's followers go on to stand with him even after their charm has been broken, which makes clear that many are koyal to Miquella not just because of brainwashing, but also because they genuinely believe in his end goals. And while we'll never have confirmation of this, i don't think the denizens of the Haligtree, or Malenia for that matter, are all under Miquella's spell. At the very least the majority of them must've willingly chosen to remain loyal to him (plus, his charming powers must have a limit of some kind, otherwise he wouldn't need to become a god to rule the lands between)

Secondly, St Trina's very existence proves that Miquella's love and compassion is not only genuine, it's strong enough to manifest as a whole ass second being, which in turn makes her abandonment all the more tragic. It's possible that Miquella himself was always driven by ambition, and that he saw his other half as a "weakness" to be expunged; Or perhaps casting Trina away was a necessary evil, a selfless sacrifice in the name of a greater good. Regardless of the reason (i tend towards the latter), the end result is clear: It was grave mistake

For without love, there can be no Compassion. Miquella's Age of Compassion would be doomed to become an era of subjugation and endless war, where those who resist Miquella's charm would not be allowed to exist. It's an end result that Miquella himself would definitely NOT want, but it's the one he uwittingly locks himself into after he casts away his humanity. Hence why St Trina begs us to kill Miquella, as she understands his ascension would essentially result in a fate worse than death for him

So, TL;DR: I think Miquella genuinely wanted to create a better world, but in his quest to do so not only did he forcefully take away the free will of others, he also wound up becoming a heartless monster that, if unchecked, would bring about great suffering to the world and himself. It's classic "good intentions, bad outcome" tragic writing and ultimately it makes Miquella a very memorable and compelling character, even if he is ultimately a villain

[menlove]

hey there! i’ve very recently gotten into the beatles and have been exploring their history/lore in my spare time and accidentally spiraled down the mclennon rabbit hole. reading your posts has really got me interested but i’ll admit i’m a bit conflicted, so i hope you don’t mind me asking a genuine question; how do you reconcile john’s horrible behavior to cynthia/others while also shipping mclennon? (this is genuinely not from a place of malice, i’m already attached to mclennon myself but knowing john’s past has put me in a weird headspace about the whole thing and i don’t know what to do).

oh I get that. I've definitely been in a weird headspace about the whole thing before too. recently and then it's also part of why I deeply pretended I didn't still like the beatles after my first obsession as a kid

for me personally, I think there's several ways I come at it? (and disclaimer: this is as a fan who's already decided to interact w him/his work in a fannish way. I'm NOT saying any of this is necessary or that people who can't stand him are obligated to do these things. and that's not @ u anon, I've just gotten some odd responses any time I talk about this)

first one is just that he's already dead. not just dead, but brutally murdered. he was murdered when he was 40 and so the question is like.... what Else can really be done ykwim? like there's this sense in social justice circles that people must be made to Suffer for their actions and I'd say getting murdered is right up there

I'd also say another Big One for me is that it's not my place to forgive him or not forgive him or whatever. I never knew the man, his actions didn't impact me personally. but those that they Did impact (cynthia, yoko, may, paul to an extent, etc) still deeply love the man and Have forgiven him. which obviously isn't to say that means anyone else has to, but just that like. at the end of the day, if the people he hurt have moved on & view him in an overall positive light, I don't feel like. as bad about it?

I'm trying to explain this in a way that doesn't sound like I'm excusing anything, bc I'm really not. just that To Me the most important goals of holding famous abusive people accountable is a) justice for those they've harmed and b) letting their wallets feel the consequences of their actions by not giving money to their shit. both of these points are... pretty much null with john. he's dead, in one of the worst ways possible, and the people that he hurt aren't calling for any sort of action against him bc they've already forgiven him.

ultimately I think just like....... as long as you tread a lil carefully and keep it in mind it's... the damage was already done, the people he hurt have already moved on, and the man's already dead. writing about him fucking paul mccartney isn't going to Worsen anything. as long as we aren't like. denying that he was abusive Or trying to deify him.

and like I said, this is literally only about ppl who have Already chosen to still interact w him in any fannish way like you and I. I'm in no way demanding anyone else view it like this if they don't like him or the beatles bc of his actions

[letters-to-rosie]

I'm still reading Afropessimism so it's time for me to make my media studies degree do some exercise with my favorite boy

and someday I will write that proper Silco essay on why his politics make me sad lol but for now I will just say I stopped trusting that man when the word nation came out of his mouth

the whole idea of a nation state (as opposed to other governmental/social arrangements that precede it) is that the political entity of the state is something individuals who are citizens of the state are supposed to identify with. the nation state is supposed to represent them and protect them in some manner. typically, this is established by means of trampling on someone else who lives within state borders but doesn't (at the time of the state's formation) fit into the community of the state. (for more, there's this really good interview with Mahmood Mamdani where he articulates this and connects it to the current situation in Palestine)

for Mamdani, the idea of the nation state crystalizes with Spain's reconquista, which created an Iberian state that trampled over Jewish and Muslim people. from there, the idea that people's homelands might not take the form of states becomes foreclosed as the model of the nation state expands and subsumes every other political formation out there

and this (told y'all I was gonna put that degree to work) is what happens in the show. Silco, working on his nationalist project, envisions a future in which the people of his homeland have a political entity to represent them. but in the course of establishing it, he tramples over resistance to his very sketchy means of accomplishing this goal

what I want to think about more is how not to close out potential alternatives. I think the character who presents the best place to start with that from is Ekko (my boy). Ekko and the Firelights' political motives beyond 1) stop the expansion of shimmer 2) care for addicts and 3) beat up cops is left pretty unclear. I think the reason he sometimes get looked over is this lack of clarity, a lack of coherence, and that gives the feeling of not being able to judge him. while Silco's methods are bad, his narrative arc makes sense. his solution also makes sense. but is making sense the end-all-be-all of liberatory possibility? especially when one is up against violence that is senseless itself and in its gratuity?

here's where Afropessimism is so interesting to me. the theory is about anti-blackness and argues that humanity is able to define itself against blackness as a metaphorical ruler (I have some historical examples that are interesting, but then we'd be here all day; if you're really interested go dive into Matthew Perry and Japan). because this antagonism is pre-logical, it doesn't make sense. it challenges the very idea that suffering and redress for that suffering can be made sense of. the solution to it isn't in sight. but the challenge is to sit with that. it is to know that the answer doesn't have to be right in front of you for the fight to still be worth it.

a big part of why I don't vibe with the whole concept of nation states is that I've always been like "why am I supposed to identify with the country that enslaved a bunch of my ancestors? like what good does that do me?" and I frankly have decided that it does me no good to do that. as a descendant of enslaved people, I also have no nation to go back to and join. what do I wanna do instead? don't know. the longer and longer I live, the idea that I have to feels like an unfair imposition. I've read multiple commentaries that read the Firelights as anarchists. anarchists get asked that same question a lot.

what do we do with a form of redress that doesn't make narrative sense? what kind of restoration could be meaningfully taken out of the situation in the show? in a way, it's interesting, because the show has source material that's very public. we know, ultimately, no matter what questions characters like Ekko pose the idea of Zaun as a nation, that's what happens anyway. it's like a psychic wall of impossibility prevents anything else. it has to become a nation because in a world of nations there is no other choice. so I don't fault Silco for thinking it would be a good idea. I wish he had more of an imagination, though.

[mangotangerine]

I saw you encouraging people to ask questions about inm and your works and i do have some, so, first! Tell us more about Maman Marie's view of Vox and the tarot reading and the spider speech?

YESSS I love when people ask me about my writing, and this is such a fascinating question!!

I modeled the tarot reading after how my own go, when I do readings—sometimes they are frighteningly accurate, even though I have no idea at the time. And sometimes there are those people who somehow seem to know things inexplicably. Whether magic or spirits or any of that is real is ultimately irrelevant in the story, because the reality of the situation is that for whatever reason, Maman Marie appears to know more than she should.

I think she finds Vox fascinating, because she sees through his mask just a little. She's been around long enough and met enough people that she understands more intuitively those things. Sort of like if you've never met a narcissist before, you don't know the signs, but once you have, it becomes a lot easier to identify.

So she senses the dissonance between Vox's public identity and who he really is (who Alastor sees), even if she can't see the complete picture, and part of that is the dissonance she sees in her own grandson. She knew Alastor before Katrina, and saw who he became after, and how the hurricane and his father's death affected him, and she has seen that kind of darkness grow inside somebody before.

She's got I think a lot of... not self-hate, but disappointment in herself, and grief, that she wasn't there to catch it, to stop its growth (assuming she'd have been able to; sometimes things hurt us so much that we are irreparably changed, things in us broken beyond mending). So she sees the way Alastor develops, the way his nature twists, his personality changes.

And then she meets Vox, and she sees that own twisted brokenness reflected back at her once again. She recognizes it as the same sort of thing Alastor has within him, and she knows it's dangerous, but the body doesn't develop thorns like that out of nowhere—it's a defense mechanism.

I think she sees, in Vox, some level of confidence and power Alastor feels he is lacking. Vox has the ability to protect himself in a way that Alastor doesn't, due to a whole host of factors, and she sees the coldness in him that allows him to do so without remorse.

So she likens him to a deadly, venomous spider, viciously defending his territory, which includes Alastor now. But spiders are vulnerable, especially if they leave their territory, and the level of confidence she sees in Vox is a little too much, a little too arrogant.

And if Alastor follows him where he goes—which he will, because Vox is the first person Alastor has met who has that same twistedness inside him, and he's attached now—then when Vox gets his little spider-self smashed, Alastor will be right there with him to receive the same punishment.

She cares about Vox because Alastor cares about him, and because she believes in the innate value of a human life, but ultimately her goal is to protect her family.

She also thinks Vox is incredibly rude and begrudgingly respects him for it, because it's a little nice to not be seen as scary by strangers. Like, "He's an asshole but he treats me like I'm normal," kind of thing, which has parallels with how Alastor feels about him.

I hope that answered your question!

[hotdamnhunnam]

Hiya Nicky😍🥹✨ Which of your works do you feel shows the most growth in your writing and why?🙂‍↔️ and before you apologize for rambling, ramble squad girlie pop😍

Hey Ray 🥹💗 Thanks so much again for this ask that I’m finally sitting down to answer today! ✨

Footage of Jax and Will reviewing my whole damn massive masterlist, to help me answer this ⬇️📖

But in seriousness, the answer definitely has to be Frontier of Anarchy!! ♥️💯

As for why this is… when I joined tumblr in 2020, it was entirely to thirst over Charlie. I’ve been writing pretty much my entire life and love pouring my heart into my stories, but on tumblr initially, my fics were written mostly from the 🐱, just to feed my kinks and fuck around sharing them with Hunnam hoes who felt similarly!

I enjoyed that part of my journey, and I took tons of requests because it felt good to give readers what they wanted (especially since it meant that I’d be more likely to get positive feedback on it), so all of that was nice and fun for me.

But then my urges started to get more writerly. Eventually it was no longer just about the kinks and people-pleasing; I wanted to write stuff that was more meaningful and rich with feeling — stories that could indulge my love for Charlie, while also showcasing more of my writing quality. And ever since I started doing that, with fics such as Kutte to Black and One Goal: Completion both of which were non-requested, I found writing my own stories to be a lot more rewarding honestly.

And FoA is sort of the ultimate form of that for me — it was my first and only time on tumblr writing a full-length OC story, with far more plot than smut, and once the idea for it spontaneously came to me I just couldn’t keep my heart shut! The story just had to be written and I hoped at least a few of my readers would love it. And some did, for the seven chapters that I posted of it. But it really was very few and I couldn’t help feeling that it was less than this fic deserved to get, so at a certain point it just became too hard for me to stay motivated.

In my return to tumblr this year, I’ve been grateful to make some amazing new connections on here! As you know I appreciated your incredible reblog of FoA Chapter 1 enormously 🥰🙏 Also have to shout out my darling @daryldixonpls whose love for this story has truly meant the world to me!! 💕

Anyway! Thanks so much again for the ask Ray! Interacting with you always brightens my day 🫶

[genericpuff]

I dont think snailords is literally going to end the series in 20 episodes. I think he is plotting the rest of the season and has the option to extend it 10 or 20 episodes.

That's not what he implies in his post, though, at all. The wording is very clear:

He's not saying "I have the ending for Death : Rescheduled planned out but I have this one mini arc I want to do before it", he's literally saying "the comic is ending whether you like it or not, but if you give me $1k I'll make sure it's 20 weeks from now instead of 10." He doesn't say he's plotting out the end which is however far from now, he just goes straight into "I'm gonna end the comic in either 10 episodes or 20". And then of course even goes to say "decide whether you want 20 more weeks with Kissae and Kreyul, or 10 more weeks to say goodbye". If he didn't want to give his readers the impression that that meant it was ending within that time range... then why phrase it like that? It doesn't help either that his phrasing is supported by his updates, where he says shit like:

(Also I couldn't find them but there are other screenshots out there of him saying shit like "thanks for showing you love the series" in a way that's frankly rude af because it's basically like he's asking for money for his readers to 'prove' they love him and his work, and that wouldn't be the first time he's done that either.)

If he is saying what you're suggesting, then he's not being clear about it at all because the language is very seriously implying that it's going to be ending when it returns. Which I'd hope it isn't considering what other readers are pointing out that the story has basically just gotten going and I'd hate for this to turn into another Freaking Romance situation, but I don't know how else we're supposed to read "

And, as I mentioned in my post about it, why on earth even contemplate putting in this mini arc that he's asking for $1k as a deciding factor over if he doesn't even have it written? He says he's way more confident just writing the finale arc as is, so why drag it out with an arc he's not completely confident in?

And of course, there's the urgency. If Death : Rescheduled isn't entering its ending arc after it returns from midseason hiatus - if it still has potentially years of storytelling left - then why now? Why suddenly ask your readers to buy $1k worth of merch in 24 hours or less to help you make a decision... if the actual consequences of that decision won't be made apparent for ages?

And at the end of the day, even if it's a possibility he meant what you're suggesting, that doesn't make it any less scammy to hold the comic's potential ending for ransom? Speaking as a comic writer myself of the last 10+ years, getting money from the audience in this kind of way has never ever been a deciding factor in how I write my work. Sure, things like stretch goals and Patreon milestone rewards are a thing, offering bonus chapters or NSFW art or just additional goodies if you hit a financial goal or if people sign into a certain tier, all that makes sense, but if what you're offering is worded specifically to make your audience panic - not saying "hey , you guys get an extra bonus 10 episodes if I hit this goal by this date" but rather "hey, you guys won't get AS MANY episodes if you don't pay me $1k in 24 hours or less" - and ultimately gets your readers an extra 10-15 episodes of an arc you're not even confident in writing ... the fuck is that, even? Just write the story you want to write, why do you gotta make your audience freak over not getting as much comic as they might want only to twist it into "surprise, it was for charity!" in the end?

The whole thing is silly and yeah, I'm calling it for what it is - a scam - because it's not the first time Snailords has taken advantage of his audience and played on their emotions and need for short-term gratification all for his own financial benefit. It's not even the first time he's tanked his own comic from rushing the ending simply because he was done playing with it. So at this point I wouldn't be surprised if the comic does come back and proceeds to spend 10-15 episodes waffling on a directionless mini arc before rushing into a 10 episode finale.

That said, that's all my two cents on it, you don't have to agree with me. I really don't feel like I'm misinterpreting his words but maybe someone else could enlighten me if there's something I'm missing here; that said, considering even his own readers were calling him out on this and that he never actually made efforts to clarify what could be poor language, I don't think I'm an outlier and I don't think there's even any misinterpretation happening. Maybe he'll prove me wrong, but I've yet to see this guy do anything to prove that he's capable of doing the right thing. And frankly, even if what you suggested turns out to be true and the comic goes on for a long while before actually hitting that $1k-funded mini arc (and again, I kinda hope it does just so we don't end up with a repeat of what happened with Freaking Romance) it doesn't make any of this feel less gross IMO.