#and i feel so bad being disappointed but like. all i can think is

[ilikeyoshi]

"#yes yes yes!!!! #and ngl it makes me want to read or engage with it more too!"

i hope it's ok to point out these tags bc this is SUCH a huge mood i think deserves a little more explanation!!!! (at least from my perspective as both a creator (writer) and fan (of artists))

i used to have a ton of anxiety when creating and especially sharing my works, and my impulse was always to talk down on it, because a) i* (*my anxiety) believed it to be bad, and b) because i had this idea in my head that if i lowered people's expectations, they wouldn't be as disappointed when reading it.

i want to tell you what i've learned in my years of both being a writer and being a fan of artists, and it's that this is a terrible, terrible anxiety fallacy (like so many ideas/misconceptions borne of anxiety are) that ONLY hurts you, your work, and your potential readers(/fans/etc). it SOUNDS like a good idea when you have really bad anxiety, i know, i used to DEPEND upon this idea just to have the courage to SHARE my writing—and i want to emphasize that it's OKAY if you've done this before, it's an easy, easy trap to fall into, but i also want you to try and stop doing it because there are a lot of reasons you would feel better and do better for doing so.

you are what you practice! if you only ever focus on or speak about the flaws in your art, you WILL feel negatively about your art. my very first therapist explained it in a way that still really resonates with me: you have created a well-beaten, highly trafficked "road" in your brain. it is very easy to take this road because even though it's longer to your destination, it winds and bends, it's walked on so much it's flat and easy to traverse. when you try to build a NEW path—in this case, a path where you focus on what you like about your art—you're starting with no path at all. it's all undergrowth and vines and thorns and it hurts and it's tiring and you feel like this will NEVER be easier or feel better than the old path. but you have to keep taking the new one. you have to beat down the undergrowth until it recedes, cut down the low-hanging branches until you can walk with your back straight, and if you keep at it, if you keep at this thing that feels so pointless and stupid and hard, eventually, the path will be clear, and easy to walk, and you'll make great time getting to your destination because it cuts straight through; no winding or bending. and the old path? it will overgrow, and it will become hard and stupid to take. you have to beat the new path because once it's beaten, it'll be the far superior path in every way, including ways the old path was never superior even when it WAS the one you were always taking.

further—as these tags point out, and as i agree with wholeheartedly—by disparaging your art, you DO lower people's expectations. people don't want to be sad, frustrated, disappointed when they look at art—at least, not unless the art itself is trying to tell a story about that. you get what i mean, i hope—they don't want to go INTO something they already HAVE negative reviews on—your reviews! you, the creator, have already told this person the story/art/whatever is going to be bad, and i know, i KNOW it's not your intention, you're hoping someone will see through what you can't and tell you no, no, this is good, i liked this! and some people do! but you make it a lot harder for them TO do that when you tell them right at the beginning, "this is going to be bad, i don't like it," because what you're unintentionally telling them is, "and you probably won't like it either." the first way i learned this was in people always saying in their fanfic summaries, before you even open the fic, "the summary is bad, i'm bad at writing summaries, the story is better trust me bro." because what this does—again, so unintentionally, i KNOW what you're trying to do because i've been you—is you're telling the reader, "here's my pitch, here's the hook to my entire story, it's the worst part, it's bad, but the rest will be better," and what they KNOW is they've already put the time in reading the summary, and it's hard to commit MORE time to something when you've already told them it's bad, even if you promise the rest is better. it's like biting into a fruit and you hate the taste of the skin; it's harder to try the rest of the fruit when, so far, it's been bad (or you've been made to believe it's bad).

so what's the solution? how do you begin beating that new path? well, it depends on you. everyone's a little different in how they navigate stuff like this. but what worked for me, and what might be a good place to start (and by all means adapt as you figure out what works and what doesn't), is start by just NOT saying anything negative. no, "i don't like this," or "the summary's bad, sorry," or anything. write your artist's comment, author's note, whatever as normal, and REMOVE anything that depicts your art/writing/etc in a bad light. just don't give people any opinion whatsoever on what experiencing your creation is going to be like. this, for me, was easier than jumping straight to, "i'm pretty proud of this," or "i enjoyed working on this," because it wasn't withholding AND replacing, it was JUST withholding. going back to the roads and paths metaphor, i think of this part as the "taking a breather before i get to work on this monumental task of beating this new path" stage.

then, overtime, i started "stretching" my positive comments about my works. if i liked, say, TWO LINES out of a whole piece of writing, i'd say, "i'm really proud of this work!" because i AM proud of ANYTHING AT ALL, NO MATTER HOW SMALL, within the work. it's not a LIE, to anyone including yourself, but it is, perhaps, an EXAGGERATION. that's OKAY. we're trying to teach our brain to look on the bright side, to take the new path, and i've found that treating it a little bit like a dog—giving it a treat for ANY TINY BIT OF PROGRESS, was a good way to encourage myself to start making MORE progress. ESPECIALLY because the tags i reposted above are RIGHT: LOTS of people are MORE interested in a work when their very first impression (YOUR impression!!!) is positive. 'the artist/writer/etc is proud of this? oh, i'm so glad they had a good time creating, let's take a look!" it probably sounds too easy if you're still taking that anxiety-beaten road, i know, but try to think of how you've felt when someone disparages their creations versus uplifts them. were you put off by the negativity? were you sad that your friend worked so hard on something and didn't even like it? conversely, doesn't it make you a little excited when an artist says they really feel good about something they made, especially in a world where so many artists ARE feeling inadequate? i hope you see what i mean.

it's not an overnight thing, of course, this took me YEARS. this took a miracle that doesn't happen to most people: i wrote something i felt SO TERRIFIED people wouldn't like, even though i was secretly very proud of it (but too scared to dare suggest i was proud of it), so i indicated all kinds of things like "i hope you like it, i dunno if it's any good, it's just a little thing i'm chipping away at in my spare time" (it was not, it was a full-blown passion project) and, against the odds, a LOT OF PEOPLE told me they really really really liked it. a couple of friends who were decently popular in the fandom it was for liked and shared it and i got A LOT of encouragement. i basically got to beat my new path with a HORDE of helpers, and it was more like THEY beat the path for me and i chased along like, "what is happening, oh my god, what are you doing???"

i got really lucky. that doesn't always, or even usually happen. in most other areas of my life, i've had to beat the path myself. and it takes a long time if you're doing it on your own. but you should anyway, because it's so fucking worth it dude. yeah, it was awesome to get so much help with my writing confidence specifically, but it's been just as worth it every time i've had to do it alone too. and i have good news! there ARE ways to tell people you're on this journey of making yourself a new path. here are some suggestions:

"i'm new/rusty at this, so please let me know what you think!" - informs potential readers/viewers/etc you are learning and gives them an opportunity to HELP you learn. this is a positive interaction! this allows people to find a GOOD experience EVEN if they didn't enjoy the story much, because they can help, and people DO, MOSTLY, like to help.

"i want to improve at [dialogue]" or "i'd appreciate advice on [lighting]." - similar to the first example, but does 2 things: gives viewers specific instructions that can be really helpful for those that aren't sure how/what to critique (surprisingly common thing; the more specific you are about what you want advice on, the more likely you are to GET advice), AND allows you to, neutrally and non-disparagingly, ask for help in areas you don't feel confident about.

"leave a comment if you liked it!" or "let me know what you liked best!" - listen. i don't think 'fishing for compliments' is bad as long as you're not being manipulative about it. these examples are very clear in what they're asking for, which is compliments, positive reviews, etc. and that's okay!!! first of all, lots of people LOVE praising works they like, i promise, and asking them to DOES make them feel like they have "permission" to (i know that sounds silly but i also know if you have anxiety about creating, you have anxiety about commenting, i see you, i was you). secondly, i have gotten the MOST encouraging, confidence-boosting comments this way, especially with the latter example. there is NOTHING more immediately anxiety-curing than a comment that says "i liked [scene/dialogue/character/etc] specifically." it's AMAZING. (also, if you're looking for advice on commenting, this is a GREAT thing to do. imo, this and "speculating/interpreting the work" are the two coolest comments i get they make me feel AWESOME.)

remind yourself, as many times as you have to, CONSTANTLY if you have to: likes/kudos mean someone enjoyed your work enough to press a button. views mean someone liked your work enough to click through for more. these are POSITIVE interactions, they are not "less positive" than comments or reblogs/reshares. i know those last two things are more obviously gratifying, and depending on if you NEED your work to spread (for exposure/commision prospects/etc), very good, awesome ways to support you, and i don't mean to say you shouldn't WANT comments and reblogs/reshares. but for me, it's helped me a lot to recognize that any bit of effort whatsoever means someone LIKED my work. it's also helped me to think of all the times i've shared a link to an artwork in a discord or something, and know that there is an entire, untangible metric i can't and will never see that, sure, i can choose to believe doesn't exist or isn't very high, but i can ALSO choose to believe it happens quite a lot, and the latter makes me FEEL better about my work and makes me want to create MORE, so i think that's the more productive mindset personally. it doesn't matter what the truth is, you know? we'll never know it and it doesn't harm us to never know it. but it DOES harm us to assume no one quietly, unseen by us, likes our work, and it DOES ENCOURAGE US to assume lots of people do.

here's the thing: anxiety disorders fuck you up by making you believe extremely negative, scary, depressing things. the disorder gets worse the more you allow it to make you believe these things, and the only way out, as stupid and hard and at times impossible as it feels, is to say, "no, i don't like that interpretation, i'm going to replace it with a positive one." anxiety is making paths all throughout your brain, and you have to just, make paths too. anxiety needs YOU to make paths, but YOU don't need anxiety to make paths. your paths WILL be better, safer, easier and happier. you just—and i know that is the biggest "just" ever—have to make them.

but i believe in you. i don't need to know you or your circumstances to believe in you. i believe in the sheer amount of control you have over how you face the world. and it's so much more than anxiety would lead you to believe.

i looooove seeing artists & writers proud of their work!!!!! i looooove captions & authors notes that say things like “i’m quite happy with this” “i love how this turned out” “i had so much fun making this”!!!!!! i loooooove when the act of creation is joyful & we take pride in what we make!!!!!!!!!!

[loycos]

my head's a bit clearer, some thoughts about act 3

-my biggest gripe is episode 7- cool idea, love the concept of peaking into a different universe and seeing what our characters couldve been under different circumstances, but a WHOLE episode. when you only had 9 episode in this season, that already feel like theyre moving at a neck's pace. for a universe that ultimately doesn't matter to the main universe where the story takes place. the fact it had timebomb made it feel extremely fan service-y.

-no emotional resolution to a lot of characters. viktor and jayce are the only ones i can think of that felt like they got the screen time and care for an actual emotional closure.

-isha wasn't even mentioned in this act. in general she was already a martyr for jinx's character development but guys can you make it less obvious.

-it started in act 2, hence why i was so jaded on it, but it continues here: just where the fuck the political drama between 2 cities go? the conflict between zaun and piltover took a back seat since episode 4 and never came back. the resolution to it isn't bad per say, but when u got so little focus on it in the finale it just feels rushed.

-i loved the cait and jinx scene. but like, that was the resolution to it??? after act 1 thinking about it disappoints me. im not against a conversation being the climax to a story, but that is, and im not joking, the ONLY conversation these 2 have in the show one on one. in general the jinx\cait\vi arc ends with 1 conversation per duo (well caitvi got one fight and one very steamy sex scene but u won't catch me complaining). and after act 1, idk i think i wanted just a little bit more. im biased though- the jinx\vi\caitlyn dynamic is my favorite part about arcane. the teasers for s2 always had them front and center so i assumed it'll play a bigger part in the story???

-i felt like what the show was at its core, which is the conflict between the sisters and the cities, was completely sidelined this season. in general i can't really tell what the main theme of the show is anymore. but yeah look at the resolution to the jinx and vi story.did it feel like it had the emotional impact u expected? cause i felt like it was underwhelming.

-sevika?? didnt speak since episode 4???? huhh???

-maddie was pointless. why was she there?? i don't understand the point of that character. i dont understand her motives. she ended up not mattering at all to caitvi's story. the only thing i got from her inclusion is "caitlyn fucks" but is it that THAT important??? of a character trait??? to add to caitlyn of all people?? in THIS season??? this belongs in the realm of fanfiction.

-a lot here felt like fanfiction actually. every silco inclusion (except of him in the cell with jinx), the whole "nobody dies au" they threw in the middle, even the caitvi sex scene (IM NOT COMPLAINING THO). the caitvi scene at the end was dialog out of fanfiction, wtf was that.

-why did caitlyn lose her eye? im not like against the idea on a base level but losing an eye is very symbolic, and im not sure what its supposed to represent here. caitlyn is an observant person, its a big character trait for her. so youre basically saying she sees less now? that she's more laser focused? i sure hope not. wasnt her whole arc with giving up of revenge about seeing the "bigger picture"? her sacrifice didn't feel in character, because caitlyn is not really a "fight to the death" type of character like ambessa is. if she made that sacrifice for something like love, or for the betterment of other people, that would be more in line. idk, you couldve made me on board with it but im just very meh on it. also caitlyn only really emotes through her eyes, it sucks that we get even less of it now?? though i guess it doesnt matter at this point.

-what was the point of the enforcer that looked like vander?

-ambessa was so wasted in these last 2 acts its crazy. where's the "you have to be the fox and the wolf" mindset from her? she felt like she was wolfing only with no wit anymore by the 3rd act.

-mel????????????? it was. uhhh. maybe you shouldve saved it for another series, riot. but in this show, waste of time. the fight she had with caitlyn against ambessa was cool tho.

-i sound like im a hater but u have to understand. s1 of arcane was a political drama and a character study show. seeing all this discarded for magic and time travel shenanigans on like 4 different fronts was so jarring it took me out of the show multiple times.

-cant believe im saying that, but i wish they'd try to stick closer to the characters' current state in the source material (the cursed game). someof it felt out of left field and done for shock value, which isn't why we love the story or these characters to begin with.

good stuff:

-caitvi sex lmao ill take it babyyyyy

-jayce and viktor's scenes at the end were powerful.

-as usual, the visuals were phenomenal. the animation is gorgeous. fortiche u made this show what it is and youre still its saving grace.

-thank god they dropped the warwick\vander plot

-i liked the implication of the conclusion to jinx's story, even if it felt a little inconsistent with the character.

-the ending to jinx\vi\caitlyn was poetic and i did love it, even if it was rushed and didn't really hit the emotional highs i wanted it to.

[bumblingbabooshka]

I think Sarek and Amanda Grayson both lowkey seeing their children as little experiments in different ways is undeniably bad parenting BUT .... I mean you talk about matching each other's freak .... Like imagine for a second Sarek is like "I am going to show that Humans are just as good as Vulcans by molding this Human child and my half Human son into the perfect Vulcans - This will show that despite what society thinks of as their genetic inferiority, they're just as good as any Vulcan." and Amanda's response to that is to think "Sarek is wrong...Michael's humanity MUST be preserved...so that I can show her all the love and affection I can't show Spock and maybe through their sibling bond all my unspoken and unexpressed love can trickle down to him through her." What are you both DOOOOING!?? You guys are NUTS like PLEASE just TALK to each other and compromise about how you're going to raise your children!! [Love the drama though] So I'm imagining in my head that Sarek is severely pressuring both Spock and Michael to act as perfect Vulcans their entire lives with him or else they're failures not only in his eyes but in all of society's (because he's an ambassador and raising these children is tied irrevocably with his work as such) WHILE Amanda is secretly trying to funnel her humanity and love for Spock through Michael and as such failure to receive, express, or internalize that love is failing not only your mother but also the entire Human race. Damned if you do damned if you don't! Who do you want to disappoint more, kids?

In 'Point of Light' Amanda says that she gave Michael all of the love, joy, and affection which she wasn't "permitted" (we must question the use of the word - what stopped her from directly giving Spock this love? I'm not saying there wasn't pressure for her not to, I'm saying the word 'permitted' absolves her of any personal choice or failing in a way that's interesting to me) to give Spock and though this is on the surface level sweet and probably meant to be interpreted that way, I submit that it must be kind of fucked up to hear that your foster mother was maybe only so kind and caring to you because she felt she wasn't allowed to act that way towards her "real" son. Michael Burnham as a tool for both her parents, however unintentional, is very interesting and I'm not sure it's something canon considers (haven't watched the show, I just like imagining things). The feeling that you have to be grateful to these people for not only being your parents but being YOUR parents. For taking you in and giving you a beautiful life - you have to pay them back, you have to make them especially proud of YOU. Because they didn't HAVE to, did they? Because you're not their "real" child. In the end, it's always Spock - isn't it? The love your mother gives you is Spock's love and if only one child can enter the Vulcan Science Academy then it has to be Spock. You're the appetizer your father serves before the REAL main course and your mother's stuffed doll which represents the thing she REALLY wants to hold and you know they genuinely care about you. That's the worst part. Because you know they care and they didn't mean to hurt you and the voice in the back of your head keeps telling you that any hurt they've dealt you pales in comparison to the debt you owe them and they love you, they love you, they love you, they love you, they love you [repeat as often as need be: remember the debt]

[glass--beach]

Thoughts on Jeff Rosenstock? (Also I'm so happy to hear he came out as enby!)

i heard about that! that’s cool

uh, bomb the music industry, the arrogant sons of bitches, & jeff’s solo work were all really important to me when i first started writing music and i feel the influence on casio dad and glass beach is completely obvious. there are a TON of other artists i like that i discovered through his netlabel quote unquote records as well, probably the most significant being the brave little abacus. i still think the absolute peak of his career was Vacation, with Worry and We Cool in second and third place. that has a lot to do with the time in my life that those records came out though, it was right when i was properly entering adulthood and those records all spoke to some very 20-something concerns.

i like his more recent records but tbh i feel that since Worry he’s basically been making the same album over and over. he’s clearly refined his craft a lot and i get why people would say Hellmode or No Dream is his best but i don’t think a jeff rosenstock record can hit like it did when i was 20 anymore and i really miss the wild experimentation of btmi, though a lot of those older records were undeniably less consistent than his more recent ones. i have always got the sense that he is doing what he wants to do though and he has consistently delivered quality songwriting with real substance that’s all very fun to listen to

i DO wanna say one thing though and i’m not trying to start controversy but i am bummed that he has continued to work with the very same merch company that i cut ties with last year for union busting, and am further disappointed that he has defended his relationship with them! he’s always spoken to this very working class perspective which is a large part of why i like him so it’s strange to see this disregard for the working people helping him earn his living. i’ve visited their factory, those people work their asses off, and i was proud to be involved with them back when they were unionized. please please please don’t start shit with him on my behalf though, i only point this out because i have immense respect for him & hope he’ll realize soon enough why this matters. no need for attacks. he’s not a bad guy at all.

anyway. very very important artist to me. could probably go off for a while about any particular one of his albums but that’s the general gist. oh yeah also I Look Like Shit is underrated, it’s a mixed bag as a whole but Twinkle and his cover of I Don’t Wanna Die are among his best songs. Twinkle is probably the one that most influenced glass beach too

[lurkingshan]

Every You Every Me

The Final Story (Part 2)

Time to finish this! [Edit from the future: I did not like this finale, so there's your warning!]

Ngl once the reveal was done and we were just in a bl about two annoying actors with a bad relationship this got less interesting. Still love the narrative device of this being about an actor pair across shows, though, that was clever. I just wish this actual story about Pun and Inn was better.

Part of my issue with this final plot is I still don't even know why Inn broke up with Pun in the first place. I don't really know what Inn's supposed to be apologizing for, other than this vague idea that he was self-absorbed. Meanwhile we actually did see Pun shut Inn out of his career decisions which directly affect him, so this one-sided apology feels weird.

I also don't love the connection they drew here between their personal and professional relationships, like they couldn't do their jobs if they weren't getting along. We know actors can act through a ton of BTS strife and still turn in good performances (EarthMix MLC divorce era, anyone?).

Like, why is Pun sobbing this hard after dumping Inn? Why dump him if he's still this attached?? Why ditch him for a new partner without ever discussing it? I don't really get Pun's deal here.

"Years later" well that's nice and vague, thanks chyron.

Why are the bad actor side pair here in this film? We saw them together and they were terrible, it was part of the plot!

Suddenly, a flashback? Inn is drunk so it's def time for a bl white towel sponge bath.

I am... so confused. When did this drunken heart to heart take place? Before or after the dramatic breakup? And why would they have to wait years to be together? But Pun assumed Inn didn't even remember??

Okay so if I have pieced this together right, they had this drunken convo the same night we saw them out with their friends, then wrapped the show, then had a dramatic breakup despite having already had this conversation and Pun knowing that, but Inn didn't remember/thought it was a dream, and they just didn't speak for years until Inn showed up with the flowers. This is so convoluted and I am just baffled over here.

Anyway, I guess they're gonna get married now even though they have a really bad and non communicative relationship. Sure!

Quite a choice to skip any physical intimacy scenes for the "real" couple after all that. I don't think I like it.

What a mess of a final episode. It's so strange that they went to the trouble of coming up with this interesting and creative narrative and executed it pretty well only to falter on coming up with a basic romance arc to finish the story well. I'm disappointed this didn't end stronger so I could recommend it to people. Ah well, at least Mick and Top are a good pair; their chemistry did a lot of the heavy lifting. And it was fun watching the shows within the show and puzzling out what was going on. I'm glad they tried something different even if they didn't land it in the end.

[loopdile]

loopdile so real. i have a Vision of both siffrin and loop being Deeply Deeply Closeted Repressed Transfem and having gender envy over odile and i feel like that'd do Something to the Dynamic. Something......... Something........................... well i'm not successfully envisioning it but maybe YOU are?

i am positively plagued by loopdile gender visions!!! maybe not the exact same as you're thinking but i think you will enjoy them. walk with me, anon, through the garden of my loop gender headcanons. it's kind of a big garden but we'll get to the odile part eventually i promise.

Before they were Siffrin, Siffrin had their gender on lock: something transfem, but also tied to unique cultural elements in some way, either the specific identity or the way of thinking about it or just the particular set of presentation options. Perhaps they even started fantasy HRT! But then they forget everything, obviously, including their identity and transition plans. They decide pretty quickly that they're not a man, but none of the alternatives feel exactly correct either; if their previous identity was presented as an option, maybe it would click and they'd settle into it pretty fast, but unfortunately that is literally impossible.

So, no clear goals in mind. And because of his forgotten past, continued memory problems, and constant traveling, Siffrin starts to really value the few things he can count on to stay consistent. He'd rather wear his comfortable hat and cloak than leave them behind in favor of anything more gendered. He'd rather stick with his familiar body than risk changing it. Still, maybe there are some changes he'd be happier in the long run to have made... but the process would be stressful, and he's got enough stressful things to worry about already!

But then we get to Loop. Who has already been changed, suddenly and irrevocably and so very, very accidentally. They are not Siffrin anymore, they do not have the hat and cloak, they aren't even human. They don't even really remember who they were pre-loops. There is no familiarity for them to cling to; instead, they're desperate to find things they can control, things they can change, proof that the world moves forward and they're in charge of their place in it. The motivation that Siffrin lacked, Loop now has in spades!

However, their negative feelings are more intense as well. They struggle to face real stakes, to put effort into anything too complicated, to try anything that might disappoint them. They take risks, yes, but not about things they care about; they take risks because they don't care. And they have a lot of other things going on, too, both practically and psychologically, so gender isn't their immediate priority. "Who and what am I?" is a very difficult question for them right now on multiple levels, a difficult question with only difficult answers.

But, starting with the practical: wearing clothes is an easy way to look and feel a little bit more normal, right? So they experiment, and they decide that dresses are just similar enough to the cloak to be comfortable, but distinct enough to not be as emotionally fraught. And they like them in a frivolous way that Siffrin was never willing to lean all the way into. Siffrin didn't put much thought or energy into his appearance, but Loop's inhuman form is a constant issue, so they might as well dress it in a way they like! Something good to balance out the bad, since they can't be neutral any longer.

And of course they think about body craft, though in a different context from most people. Even the nearly-human parts of their body are lacking detail, without all the right functions behind the form, and then other parts aren't human at all. Their body feels wrong, distracting, constricting. They don't understand how it works, and it draws attention they don't want, and it's not them. And yet, isn't it? Even if they'd been put back into a Siffrin body again, they aren't Siffrin anymore, either. Loop is what the loops made them. They want to change their body, to make it something they can be comfortable in, but they can't. Because body craft is a method of changing flesh and blood and bone, and Loop is not made of such human stuff anymore.

So we've got Loop. Trying to find themself, and maybe succeeding in some ways, but stymied or uncertain in others. Desperate to change, but scared to hope. To make a long story short, they join back up with the party, which brings its own set of problems, and yet... it's also a step towards fixing some of their problems, too. Most relevant to our post, here: Odile is a craft expert with a unique set of experiences. She's got a wide foundation of knowledge, since she's familiar with all three main craft types. She used to be part of Ka Bue's underground body-crafting scene, where she not only crafted her own body but also helped and taught other people; and unlike in Vaugarde, where Houses provide resources and education, Odile and her peers had to do their own research and experiments, develop their own techniques. She even has some knowledge of wish craft from Siffrin, and the way she stopped Siffrin from looping proves that she's unusually good at analyzing and adapting to new forms of craft.

So once Loop's dissatisfaction with and ignorance regarding their own physical form comes to Odile's attention, of course she offers to help. To see if she can figure out what their body is made of, and how it works, and hopefully, in what ways it can be changed.

And this dynamic with her... it's totally different from her relationship with Siffrin, both pre-loops and post. And Loop has always admired her, and here she is, talking about the confidence and determination with which she changed her own body, not without fear or frustration but not letting herself be slowed down by them, either. Taking her fate into her own hands and refusing to be anyone other than herself. And Loop used to feel that Odile understood them best, and losing that connection felt like the end of the world, but here she is, still! Observant and caring as ever. Dedicated to figuring them out again. Unflinching as she sees them for the strange thing they currently are, but equally unshakable in her insistence that they do not have to stay exactly as they are.

So Odile helps them figure out their body. Helps them with the craft itself, too, but even more than that — through both encouragement and example, she helps them be brave enough to genuinely try. To ask themself what they really want. To strike a balance between Siffrin's complacent hesitation and Loop's miserable desperation. To experiment, and face both the chance of failure and the chance of success with head held high. To hope.

Odile is not one for platitudes and empty positivity, after all. If she says something's possible, then it is, or she will make it so, one way or another, despite any setback. Isn't she proof? She remade herself, and she can remake Loop, too. Changing them, slowly and carefully and so very, very deliberately. Loop will never be human again, but they can decide who they are and become themself.

[aihoshiino]

I know I'm swinging a bat into a hornet's nest, but ever since the end of OnK I've been thinking about why Akane is so popular yet so disappointing as a character.

Akane was really interesting and I enjoyed her being her own character, but after the stage play arc she just becomes an Aqua simp. All her motivations become centered around him to the point of wanting to ruin her life for a boy. She becomes a "submissive Japanese wife" that so many people are obsessed about, completely ignoring that her and Aqua's dynamic would be horrible for both of them. They enable each other's self-destructive tendencies, trying to go to hell instead of climbing out of it.

I hate what they did with Akane at the end. She becomes nothing more than a plot device, and to have her narrate the ending which overshadows every other character (especially Ruby, she deserved so much more) is such a bad move. Justice for Akane, she's a much better character than an exposition mouthpiece for the reader's sake. We don't even get to see her actually analyze any information (aside from researching Ai at the start), she just suddenly has all the answers even in moments where it has almost nothing to do with her. I'm so annoyed at how Akane-centric the ending is, truly putting her characterization into the ground alongside Aqua.

I think the issue re: Akane is that Akasaka kind of accidentally wrote himself into a corner by making her SO smart and capable that if she was allowed to actually contribute to the story then she would end up solving most conflicts before they actually played out on the page lol

Like, to be totally fair, there was always going to be an element of Akane orbiting Aqua because she's very specifically a character not involved in Ruby's half of the plot and with zero interest in B-Komachi. So it makes sense for her to take a bit of a backseat when we switch focus to it but Tokyo Blade going into the Private arc is really good example of how she can still be a present and engaging character even without directly contributing just by letting her... you know, engage and be present with the rest of the cast! But starting with Mainstay, Akane has basically zero meaningful interactions with anyone who isn't Aqua and most of what she does on-page also revolves around him and their relationship. I'm not even really sure why this is because there are certainly places she could've at least been inserted to flesh out her relationships with the wider cast but my best guess is that this would have interrupted or complicated what Akasaka wanted to do so he didn't include her. And Don't Even Get Me Started On The Movie Arc.

There's more issues with how Akasaka uses her as a character but u/uvauva2 on the OnK subreddit did a really good and concise breakdown of them and I'd basically just be recapping their points if I carried on, so I recommend reading it.

It sucks because I've really come around on Akane and I think she's super compelling up through to the end of the Private arc. But past that, it feels like Akasaka had no idea what to do with her as a character so he turned to using her as a blunt force tool of convenience to paper over sections of the plot. She ends up kind of reduced to a mouthpiece for Akasaka to do exposition with and... Yeah, it sucks! Akane was a character with a lot of really interesting potential but it just feels like Akasaka lost interest in fitting her into the story at some point.

[afrsconp]

I'm pretty new to this fandom but I've seen a few posts here and there about Nigel being a bad guy. And I'm not saying he's perfect (he'd be boring if he was!) but I do think some of those posts aren't really considering why, within canon, he'd (re)act the way does.

A few arguments against Nigel I've seen:

Nigel pressured Isaac to move faster than what Isaac was comfortable with, and gaslit him to manipulate him into doing what he wanted.

I can understand the argument for this, but I just don't agree with it. Both of them contributed to the way things ended up, mostly due to lack of communication, which in turn was probably just one symptom of tons of other issues: their old-timey-ness, Isaac still processing being openly gay, both of them probably unused to being in a serious relationship (with a man or otherwise) where they genuinely loved/were attracted to the other party, the prospect of literal eternity together, the sheer length of time they'd pined over each other, the fact that Isaac was the cause of Nigel's death, etc etc etc.

So when people claim things like Nigel getting mad about the daybed = Nigel manipulating Isaac into proposing, it feels a little short sighted.

More than once, we see Nigel actively try to slow things down when he sees that Isaac is uncomfortable, only for Isaac to rush forward instead (to overcompensate for his own worries):

After the truth is revealed about Jenkins lying to both of them to keep them apart, and Isaac still tries to pretend there's no romantic feelings between them, Nigel is visibly upset but doesn't push the issue. He doesn't even try to get Isaac to admit what they both know (what everyone knows!) is the truth - he just hurries away and tries to hide how much Isaac's denial has hurt him.

After offering to let Isaac sleep in the shed when the mansion ghosts have to bunk up, Nigel starts avoiding Isaac. It's not a stretch to think that Nigel was embarrassed/upset at being rejected and decided to leave Isaac alone for a while, giving them both some space, and he only confronts Isaac again when he thinks the real reason he was rejected was that Isaac had been having an affair with Thor.

When they're under the mistletoe, Nigel quickly assures Isaac that they don't have to follow tradition and can just say goodnight - only for Isaac to insist that they kiss. So it's pretty understandable that Nigel gets upset when Isaac facepalms him instead. And not only that, Nigel tries again to back off - he sees that Isaac isn't ready and reluctantly ends the relationship. And again, it's Isaac who pushes things forward by going to find him later and kissing him for real. But kissing him without any explanation about why he was so hesitant to do it before, which only compounds their issues.

When Nigel is like, "we're really baby stepping this thing, aren't we?" after Isaac invites him to move into the mansion, he clearly wants to move into Isaac's room but readily accepts moving into the library instead. He doesn't argue or make a fuss about it.

When Nigel gets upset about the daybed and Isaac tells him that he isn't ready for cohabitation, Nigel again just accepts it. He's obviously disappointed, but he doesn't make any demands. It's Isaac who suddenly jumps straight to marriage, which is something that Nigel pretty clearly did not expect him to do at all.

Just the fact that Nigel waited for Isaac to make the first move, despite it being obvious to everyone that Isaac has had feelings for him for centuries. Nigel didn't force things and knew that Isaac had to accept it for himself before anything could happen between the two of them. And so he waited. FOR OVER 200 YEARS.

2. The liaison with Jenkins during The Respite

Look, this was 100% on Nigel and he shouldn't have done it (even if they were on a respite). But given what had just happened, I can understand why he did it. The love of his life had just shown him that he still wasn't ready, even after 250 years of waiting, so Nigel was upset and frustrated and Jenkins was right there and willing. So he did something stupid, which he later describes as "meaningless" anyway.

3. The lapdance from Jenkins at the stag do

First off, the lapdance wasn't his idea. It was Trevor's, and then Jenkins just ran with it. And yeah, it's clear that Nigel enjoyed it, but it's also clear that it meant nothing to him. It didn't make him have sudden feelings for Jenkins, or made him horny for Jenkins, or anything at all that affected his feelings for Isaac. In fact, he insisted that Isaac get a lapdance too, to prove that they were just "innocent fun". So when he later realized that Isaac's lapdance wasn't as meaningless for Isaac as his own was for him, he gets upset. And, once again, it's Isaac who pushes things further, by insisting that they should still get married despite both of them starting to have doubts.

In case it isn't clear, I'm not saying Isaac is the bad guy here. They're both a product of the time period they grew up in and talking things out isn't something either of them is used to doing.

4. Nigel blackmailing Hetty and Trevor

This one just ignores the fact that Nigel only blackmails them after Hetty sabotaged Nigel's tea party. And yes, inviting Hetty last was 100% an intentional slight, but it was a slight that would've stayed private. No one else would've been aware of it - not even Hetty, had Nancy not happened to mention that Nigel invited her first. That's a very different thing to Hetty publicly embarrassing Nigel by ensuring that his tea party failed.

In any case, Hetty won that little war (as she should have; she's the Lady of the House and I love her outmanoeuvring everyone to stay on top). And after she won, they both backed off. We see them being quite civil to each other after that, like during their double date and the wedding planning (up until the pre-nup thing, but more on that below).

5. Nigel getting upset about the pre-nup

This argument is just weird to me. Plenty of people in the modern day get upset about this kind of thing all the time, so Nigel getting upset about it seems perfectly understandable. It also wouldn't be surprising if Nigel was subconsciously worried that Hetty was still trying to break them up.

In general, I think that Nigel might just be really insecure. He might've been afraid that Isaac was only with him because it was convenient? And was kind of desperate for a solid indication that Isaac's feelings were as strong as his own. And when Isaac repeatedly backed off, those doubts just kept resurfacing, to the point where I don't think Nigel even thought about possible alternative reasons for Isaac's behavior. He just went straight to "he doesn't really want me, maybe he never wanted me". But he doesn't actually say any of this to Isaac, and Isaac never actually tells him about Beatrice or why he's getting cold feet (assuming that Isaac is even aware of the reasons himself!) - until they're already at the altar, in front of everyone, and about to exchange vows. Which is just about the worst possible timing there is.

[the-bad-guys-2-reportage]

🟢 Director Pierre Perifel explains the connection between The Bad Guys 2 & the first movie, the books, and more!

The characters are based on the popular books by Aaron Blabey. Is this new story also based on a book or is it an original story?

Pierre Perifel: "It's an original story. We borrow elements from the book, we borrow situations, we borrow names, we borrow characters."

Damon Ross:"The bad girls are elements from the books. They're not called the bad girls, but their names are pretty similar. We just changed one of the names. However, the situation in which they meet is completely different. And even their dynamics are different. But the characters themselves are pretty similar."

How difficult was it for you to find a story for a second film?

Pierre Perifel:"I always liked the ambiguity of the last scene in the first film, when you see Diane Foxington picking them up from prison. When she says, "All right, guys, ready to work?", that could mean being ready to take on more, bigger missions. But it could also mean just working. Our characters have just gotten out of prison and they're out of work and in a lot of debt. They go from interview to interview and can't get a job. And then they get sucked back into the life of crime by this trio of bad girls who want them to pull off one last heist. I think that was just our way of pushing ourselves to do super cool action stuff."

Damon Ross: "Here's a new crime syndicate that will test Wolf's decision to become good in the first film. It's one thing to become good, but another to stay good."

Pierre Perifel: "Things have changed though. Nobody runs away from them anymore because they're afraid of being eaten by the wolf. It's more of a distrust. People don't trust these people yet. Wolf believed that people would welcome them with open arms since they had served their time and saved the town from a crazy guinea pig. But that's not how it works. I think that makes the film quite realistic in a way. They have to pay bills but don't have the money because nobody will give them a job."

Have you ever thought about making a prequel?

Pierre Perifel: "I don't think we ever thought about it. We open the new film with a prologue. It's a scene that takes place years before the first film. We also have flashbacks to refer to the first film and explain what our characters went through. But we never thought about making a complete prequel."

Damon Ross: "Right now we're focused on moving the story forward."

What can you tell us about these new characters?

Pierre Perifel: "They kidnap our bad guys to force them to do one last job. They're also great thieves and really badass. The criminals are led by Kitty Kat, a snow leopard voiced by Danielle Brooks. She's super smart, super charismatic and super strong. And then we have Pigtail the wild boar, who's kind of like a MacGyver engineer. She's a crime nerd with a big brain but very shy and always wants to hang out with them. Her voice is by Maria Bakalova. And then we have Doom, a raven, and she's very dry and quick-witted and sort of the femme fatale of the group. She's voiced by Natasha Lyonne. These three are planning a big heist and need help. So they kidnap the gangster gang. And when they say that they are good now, the girls reply: "We don't really ask." And during this work, the two groups grow closer and Wolf begins to wonder if he should return to the criminal life."

You felt like you had to prove yourself to the audience of the books, the fans, and of course you wanted to please them. After proving yourself to them, you now feel pressure to please the fans of the film. Which pressure was greater for you?

Pierre Perifel: "The second film, definitely. Because now we have the entire fan base that we have to serve and that we cannot disappoint."

Damon Ross: "We now have the fan base of the books and also the fan base of the first film. So it's just expanded and gotten exponentially bigger. The books are much bigger now too. But I will say, we work closely with the writer Aaron Blabey. We talk to him all the time and we've shared early cuts of the film. And the feedback has been overwhelmingly positive. So I feel like the fans of the books are going to be super excited because he's excited. And I think that will translate to the general audience as well."

Interview from Rezensionen

[dragonsoulage]

Fighting with his beloved nurse...

feat. Giyuu Tomioka

Giyuu is not used to people that like him and that are concerned for him. He does not even understand why you were angry when he got hurt a little too bad for your taste. Afraid he would need to split apart from his favourite nurse. So you two ended up arguing

Hello world I am still sick but I wrote a little Giyuu stuff here. Idk why I feel like he always would think he is not good enough, poor boy so we need to show him that he is precious ✨ anyways I still suck in proof reading but have fun. That's just the first time I wrote something for Demon Slayer 💖

Wordcount: 2,0 k

Warnings: fluff, fighting, a little suggestive in the end

The situation was kinda frustrating. He just came back from a mission a few days ago.

You were a nurse around from the butterfly estate. Stunning, gorgeous, breathtaking...all these words that popped in Giyuus head when you appeared in his sight. But not only that, you were indeed a kind soul. Always gifting him with the sweetest smiles of all when he returned.

Slowly over the years you build a connection with him. He was a cold man, not really social, so it was not that easy. But you were kind from the bottom of your heart. Not even could harm a fly.

Patients you card for all said the same, you were an angel walking on earth.

But even angels can be mad, right?

You and Giyuu, never really named what this was between you two.

All you knew was that when he came back from a mission, and you saw him, you came walking toward him in a quick pace. Hugging him so tight to make sure he was really there. And Giyuu? He always breathed in your scent. One hand on your face needing to look in the depth of your orbs to make sure, you were there and wouldn't leave, like everyone else.

He grew attached, more than that he loved you. He cared deeply, and yet saying it out loud felt so dangerous.

That poor boy was afraid you would slip away when he wasn't careful enough. Although you would never fade, for what reason?

He may be quiet, but he listened to you, he loved when you were yapping around. Or even the deep talk you two had sometimes in the middle of the night, when you slipped into his room after your late night shift was done.   

But right now? Oh, you were mad. And why? He did his job, as a Hashira eliminated a demon.

But when he had been coming back it was so close that he could've died, you were freaking out...because you were afraid. "Don't act like that would've been nothing. Look at you." you scolded him, as he stood in front of you. You looked everywhere except his eyes.

"I did my job, you are fully aware that I am a demon slayer, what is the trouble. That's not the first time I come back and not be unharmed." he asked, his voice sounded nonchalant.

He wasn't sure how to respond to your subtle anger, especially not when he was wounded.

Probably he didn't even understand the fact that you liked him so much, that you were actually worried. You sighted trying to make the bandage sit a little better.

"Are you mad?" he asked you then, he sat there shirtless as you personally took care of his wounds. Just a little more to the left and his wound would have been critical. You didn't just see Giyyu as a demon slayer or Hashira anymore. You were afraid that someday, he wouldn't come back. Furthermore, you never doubted his talent, but you were worried.

"Do I look happy?" you asked him back, shortly narrowing your eyes. Now he sighted, he thought he did something wrong. Disappointing? Fighting not hard enough? Being not good enough because he was harmed?

These were his thoughts, although it was quite the opposite.

"You don't." he replied curtly, with a heavy voice, his head was making scenarios.

"Right I am not, when that demon would have hit you just a little more left....you would have been dangerously wounded." you meant while you reached around his torso for the bandage. 

  "I endured worse things. I don't understand why you are making a fuss." probably this was not the answer you wanted to hear. Or that anyone want to hear. You loved him, cared so deep for him. It was not a fuss, at least not for you. You saw a lot of demon slayers die in your job, and you didn't want to have him on the list. You were done with the bandage and looked at him, sad eyes coupled with angry ones.

"A fuss? Is that what you think I do when you get back?" You asked him, your voice carried a hint of annoyance. Both of you kinda talking, not straight to the topic. You were worried, and he thought he was not good enough.

"(Y/N)...you patch me up. You come looking for me, I don't mean that you don't do your duty as nurse I..." Giyuu was lost for words. Well, what happened when he came back?

Yeah, it was you, you took your sweet time patching him up carefully. Listened to his dangerous adventure and after that? Showering him with praise and kisses, just to see how badly wounded he is and when it was not, that exhausting, you gifted him with passionate nights.

He grew accustomed to this routine, always wanting to be good for you. Not a lot of people liked him or took even interest in him. Not at all. He was just so afraid he would lose you, before he had the chance to acknowledge his feelings.

"We both know I do more than that...it's not what I meant." you said, and you were done patching him up at least as good as it could get now, because after this he stood up, ignored the pain in his ribs just to take his haori and put it on.

Giyuus face had a slight scowl in his brows, his black long ponytail just slightly disheveled from the journey back and the exhaustion. The bandage around his lower torso, his strong chest showing off even when the haori was already over his shoulders. He made his way to the door.

"I know that we...we are having a thing. That you do more than every other nurse in this estate would do. I just don't understand what is different now then before...." maybe he even mumbled that to himself. With a sigh he opened the door ready to go outside, he was not good dealing with arguments. Not that he couldn't say anything, but with you, it was different. He didn't want to say the wrong thing. He couldn't even bear the face you made. This was when it hit you, he was not going because he was angry too, he was going because he was afraid he fucked up and didn't even know why. Your steps then went fast over to him, and you grabbed the door with your hand before you stopped him from leaving. Gently closing it. "What do you think will happen when we fight, Tomioka?" you asked him, clearly a whole different topic than before. You looked a little strict but your features softer now.   

  Should he be honest? That he was simply afraid he did something truly wrong and lost you? Well, this was at least what he was thinking. Losing that pretty nurse, that made him feel...loved.

"We split, isn't it like that? Not that it would be a surprise." he spoke then, looking everywhere, but not in your face.

"Look at me, when you talk to me. I taught you manners." you meant, it was sounding a little sharp but with that edge...you were softer now. You saw what his problem had been, he didn't got the fact that you were concerned for him, afraid he could die. You liked him too...maybe even more than like. Then Giyuu looked up, poor boy, he was so distance and cold until he met you. He loved your warmth, the way you made him feel prickly in his chest. The way you smiled, the way you brushed strands of his raven hair out of his face. The way your waist felt in his hands, when he pulled you close. The way you smelled when he nuzzled his face in your neck.

"Giyuu..." you started and used his first name, your sweet voice filled with a little regret that you didn't see it that he was insecure, afraid to even.

"Just because I am mad don't mean we split... I am sorry when I made you feel unwanted. It was not-" before you could even finish, he stepped closer, his one hand reaching out cupping your cheek. It was even enough for him to hear that you don't split. You were his only person he wanted to have close now, where he allowed himself to be close.

"You didn't make me feel unwanted. It was just...the way you scolded me, making me...fear I did something that upset you so much you would change your mind about me." he said to you, his voice was now lower. "And I don't want to upset you. I just can't change the fact that fighting demons is my job, and apparently I am quite good at it." he added.

You laid your hand over his. It was a tender gesture. Nearly like all the tension flew away suddenly.   

  "I was just afraid... I don't want to lose you. You know? I see demon slayers die every day... I like you, you know. You don't complain about my yapping, the way you hold me close. I like all these things, and I was just concerned. Sorry that it overwhelm me and that I was being too hard to you." alone the fact that you apologized because you maybe reacted a little over in such a moment. The fact you spoke out you didn't want to lose him, that you liked him. Giyuu was anything than good at expressing his feelings. He pulled you just a little closer to give you such a loving kiss on your forehead. Before his forehead rested against yours. He took a deep breath.

"Actually (Y/N), I like you more than just...like. That is why I fear you wouldn't keep me around when I wasn't good enough." it was a little plain, not the passionate confessing others dreamed off. But it was his confession. The way he told you he loved you.

"You are a Hashira, you are one of the best, the best. My best." you answered him before you then reached out and placed a kiss on his lips. It was sweet at first, all the feeling you two had poured into this kiss. All at once. Then your hands slid up his bare chest. You felt his muscles tensing slightly, the way he shivered when your cold fingertips went over his skin. Before you laid your hands around the back of his neck.

"So we are going back to the usual routine when you patch me up?" he then asked, with flushed cheeks his one hand had grabbed gently your waist pulling you closer. He was still injured, and in pain, at least with certain movements. He just spoke in between the kiss, loving the way your lips felt against his.

"Depends on how much are you hurt?" you asked in between before gently guiding him back to the bed for patients. Where he sat down. Looking up at you with such ocean eyes. It was always so cute when he blushed because he was excited. "Not that much...you could be on top." He suggested with a tone kinda desperate for you. He would lie when he said he wouldn't love the fact that after you patched him up that you gave him such a delightful treatment. You guided him to lay down and straddled his lap, your cute nurse skirt rising up a little, and his hands went to the new exposed creamy skin he found. Rough hands caressing you. You then tilted your head just a little. Maybe one round he could take before he really should rest. "Oh, is that so? Not so much? Well while I will try to make you feel better, you can just continue to tell me how much you like me, that's a deal right?" Your voice was sweet when you said that, the whole argument forgotten, but of course not the fact that he admitted he liked you more than just a bit. And you would use this now to your advantage and gifting him with his beloved patching up routine...  

[twodoorsnotone]

The curse of being a woman is my relatives give me I'm sure very valuable and high quality jewellery for a big birthday present and all I can think is woah I wish they gave me the fancy leather laptop bag they gave my twin brother lol

[aroaceleovaldez]

i would like to say my ideal PJO adaptation (if i was being physically forced against my will to have to pick a live action adaptation over an animated one for some reason) would be a combo like writing of the musical + casting of the show + visuals of the movies

BUT the show actually does have the playwright for the musical as one of the major writers for like three episodes and that did nothing for it. so...

[pardonmydelays]

huh

[sunshades]

One thing about canto VI is like. I see so many people predicting it'll be about Fighting Evil Wife or Breaking Codependent Toxic Relationship and I just kinda think that would suck? If the major theme isn't grief AND love and the way both are seen as like Kinda Weird/inappropriate in the setting of the city. Then I'll be very sad.

[rahabs]

I’m glad my expectations for Veilguard were low, especially from a writing perspective, because instead of anger now I only feel disappointment that even my already low bar wasn’t met.

[beesorcery]

google how do i tell my dad that the reason i keep bringing up elon musk's transphobia isn't that i've got gen z political tunnel vision that makes me blind to his "innovation" in electric cars but because i am desperately crying out for you as the father of a trans child to feel just as outraged and angry as i am that that man has so much power