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greenhikingboots · 1 year

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Ship Game. Answer with a GIF. No repeats. 1. First Ship I thought long and hard about it, and I think my first ship must have been Mulan and Li from Disney’s Mulan. The movie came out when I was just old enough to start thinking critically about movies, noticing what I liked and didn’t like. And I realized I really, really liked Mulan and Li as individual characters, but I didn’t like that we didn’t get to see them fall in love — just the spark of something starting at the end of the movie. I think it was the first time I daydreamed about different scenarios that could have played out between them, which is basically the foundation of fanfiction, right? So…. count it!

2. First OTP This has to be Draco and Hermione (Dramione) from Harry Potter. This is the ship that got me into reading fanfiction and actually engaging in fandom spaces. Unfinished fics still haunt my Google Docs, and I hope one day I’m going to come back to this ship and finish them. Basically, I love thinking about Draco’s possible redemption arc and I love that a relationship with Hermione helps explore and enhance it. Oh, and the angst!

3. Current Favorite Sydney and Carmen from The Bear. It took until the end of the most recent season for the appeal to sink in, and I’d like to see more positive moments between them before romantic feelings solidify. But I think they’ve got a great foundation. Plenty of conflict, sure, but relationship experts say the frequency of conflicts and the subject matter of conflicts aren’t what indicate success in relationships. It’s all about how conflicts are repaired. And I LOVE the way they do repairs together. So vulnerable. So willing to accept responsibility and try to change. Looking forward to their development in future seasons.

4. Shipped From the First Minute Josh and Donna from The West Wing. I watched this show way after it ended and found myself just wanting more and more of them. Like, they could have been the main characters instead of having an ensemble cast and I would have been perfectly content. Playful banter right off the bat. She keeps him in line. He’d be lost without her. They’re both smitten but dammit they work at the White House and that means they have to keep things professional. The pining! Do yourself a favor and go watch YouTube videos of just them. You won’t regret it.

5. Wish They’d Been Endgame I’m putting Jon and Sansa (Jonsa) here so that I have a sensible spot left for other ships. I do believe they’ll be endgame in the books, if we ever get them, so this answer is for Game of Thrones specifically. We’ve all read, reblogged, and probably written a few of our own posts about how many different ways the show went sideways. I have nothing new to say here and to recap previous thoughts would take way too many paragraphs. Jon, Sansa, and the Stark legacy all deserved so much better. That’s the short of it.

6. Wish They’d Been Canon As some other answers hint at, I typically empathize with writers’ choices even if they don’t fit my personal preference. So it was hard to think of a couple that wasn’t canon but I truly thought should have been from a cohesive narrative perspective. Maybe Caleb and Maeve from Westworld? This show went more and more off the rails with each season, so a lot more than ship dynamics would have to change to redeem it in my opinion. And I definitely wouldn’t want Caleb to have been unfaithful to his wife. But they showed us such a stronger bond between him and his daughter and between him and Maeve compared to him and his wife that, like…. maybe his wife shouldn’t have even been a character? Write her out completely, as early as possible? And then that strong partnership between Caleb and Maeve could have been something even more? Yep, that would have been better.

7. You Like But Most of Fandom Hates Do people *hate* Jacob and Bella (Jella) from Twilight? I don’t know, but I like it 100 times more than Bella and Edward, and I think that’s probably pretty uncommon. Actually, in my college public speaking class, we had an assignment where we had to have a partner and write persuasive speeches from opposing views. And I was like, “Who wants to be my partner and have fun with this by debating Twilight ships?” I compared Jella against serious research about successful relationships and ACED IT. My instructor liked my speech so much she asked me to give it a second time to another class she taught while she recorded it. I would pay money to be able to track down a copy of that. A+ work.

8. Don’t Even Watch But Ship Them Anyway Eddie and Chrissy (HellCheer) from Stranger Things. Opposites attract? Grumpy sunshine appearing but maybe not really? Outcast boy and popular girl? A ship name that isn’t about their names? DOOMED BY THE NARRATIVE? What’s not to love, you know? Plus, this ship’s fans make amazing art! And if I remember correctly, it loosely inspired a Jonsa AU fic I really enjoyed, lounge act.

9. Wish They’d Had a Different Storyline Stefan and Caroline (Steroline) from the Vampire Diaries. I’ve only dabbled in this fandom, but it seems like Klaus and Caroline (Klaroline) is a much more popular ship. They had great chemistry, so I get the appeal. But the surface-level unrequited crush to reluctant mentor/mentee to genuine friends to platonic soulmates to lovers slow burn of Steroline is just chef's kiss. But then — spoiler alert — right after they get married, Stefan sacrifices himself so his brother and ex-girlfriend can be together? From a writer’s perspective, I get that ending. Full circle, brotherly love, blah blah blah. But I liked Stefan and Caroline so much more than Damon and Elena and would have rather seen the former couple get the happy ending.

10. Favorite that was Endgame Coach Eric Taylor and his wife Tami Taylor from Friday Night Lights. Do they count? They were together the entire series and had few serious marital conflicts. So there was never any threat of being something other than endgame. But I’m picking them anyway. I love their classic bickering like an old married couple and the way they still lust for each other after so many years. And I love, love, love that the series finale ended with them making a move that was more for her career than his. Relationship goals.

#ship game #dramione #jonsa #jella #carmen x sydney #josh x donna #coach x tami #maeve x caleb #steroline #mulan #hellcheer

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nox-artemis · 3 years

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Kentaro Miura

It took me awhile to get my thoughts in order. Honestly, as well intentioned as they are, a constant stream of fan tributes on Twitter and Tumblr more-or-less telling me how to process “The End” of Berserk with Miura’s death didn’t do a lot to console me, so I had to take some huge steps away from social media and only conversed my feelings with my other close Berserk fan-friends.

It was very surreal waking up yesterday morning to a friend messaging me simply saying, “did you hear the news?” When shit like that happens, I go onto my Google stories app and scroll through. I didn’t find anything really worth getting too upset over (maybe a bit sad that Queen Elizabeth II’s doggo died?) so it hit me to check my Twitter feed instead.

And that’s when I saw it.

We all know death is inevitable, and life is pretty much spent prolonging the point to that inevitability as well as preparing ourselves for when it happens to us or someone close to us. Being part of the Berserk fandom was the only time we all collectively had this on our mind not only for someone else but for someone we never met or really knew that much about. We only knew Miura through his magnum opus – and that was good enough for us. And no matter how much we discussed the worst-case scenario – pondering how the story would continue and how WE would continue – it still wasn’t enough to prepare us for this amount of shock. Hearing Miura had died and that the Berserk we know and love under his direct supervision is over truly felt like losing a long-lost friend.

It wasn’t just that the Berserk we know of is “over”, but that Miura didn’t have to die. He was only 54: not a young age, but not an old age either, especially by today’s standards. He could have seen the end to his magnum opus the way he envisioned it, yet he died of something so avoidable but is only brought about by a great deal of stress (from what I’ve read). It was always a morbid open rumor that so many of Miura’s infamous hiatuses were actually mental and/or physical health breaks, so the older or more conscious of us fans, while always eager and anxious for a new chapter, learned to not take them so personally. Miura was a spellbinding artist and storyteller, but he was also a human with his own life and conflicts that he was entitled to address at his own pace. This isn’t meant to blame anyone (at the very least, maybe to address some societal/industry issues), but it’s troubling enough to remind everyone – as the story of Berserk has demonstrated – that you need to take care of yourself physically and mentally, and while everyone struggles in life, you don’t have to struggle alone.

I always despised this weird cult of youth that insinuates that life isn’t worth pursuing once you hit your mid-thirties, and how some people so engulfed in their youth insist that they wouldn’t mind dying by the age of 50 or 60. It’s a shame when people live by that because there’s so much to live for beyond your youth – as I’ve learned, I only started buckling down when I transitioned into my thirties. Miura could have had a longer life ahead of him, going beyond Berserk and into his other endeavors, professional and personal, but that will unfortunately never happen now.

Everyone knows I have a lot of thoughts and opinions on Berserk. Most of you found out about me through my blogging several years ago, and I’m pretty proud that I was never the sort of fan that groveled at Miura’s feet and treated Berserk as some untouchable holy book: there were things I disliked about Berserk and things that disappointed me about Miura’s writing, but there were SO MANY MORE THINGS that I loved about Berserk and was proud of Miura for, and I wished him to continue his advancement in narrative growth. He did so and we watched it happened.

And, by meeting so many friends and acquaintances through the fandom, we saw a lot in ourselves change too. It’s surreal how we always joked that it would be one of us fans who would die before Berserk ended or the worst-case scenario of Miura dying; maybe some of us secretly preferred for that happen. But when we weren’t waiting around for another chapter… look at how much we’ve done with our lives! We graduated high school, undergrad, grad school, started and advanced our careers, traveled the world, got together, popped out a kid or two!... And while we experienced a lot of downfalls and tragedies that coincide, can you believe how much we have accomplished together?

We were all personally inspired, motivated, persuaded by Berserk in different ways: a lot of us were inspired for the better and admittedly, some for the not-as-good (if spending countless hours on Tumblr has taught me, there were definitely some toxic fan takeaways that had to be confronted). I’m not going to go to the point of saying that I now live my life by Berserk’s philosophy to a T or live as a reflection of certain characters (because I’m pretty sure that Miura was trying to tell us to NOT live your life like some particular characters) but it certainly helped to brings some aspects of life and existence into perspective, through the lenses of so many characters. Berserk also inspired me to write more, an already favorite pastime of mine, and how I should go about writing and planning a story, taking cues from Berserk on how to and how NOT to write and approach things in my own way, which I think is for the best in the long run. I can only dream that I’ll be published someday – which doesn’t have to be a pipe dream because it’s still much more possible than impossible. And so many other have done the same, creating our own stories and works.

And OF COURSE Berserk inspired me to be a little bit badass from time to time in moments of frivolity and seriousness – but it reminds us all that being badass and being a kinder person who tries to become the best version of themselves are not mutually exclusive. We definitely need more of that in today’s world.

We all made our own little bonfires of dreams happen, and because of Berserk existing, there will be a lot more beginnings than endings, and I don’t see a lot of bonfires being extinguished anytime soon. Miura poured his heart and soul into Berserk and its characters, and while he has passed on, his characters and lessons will live on through us and everything we create and how we live our lives (hopefully for the better).

I was happy to share all of my thoughts with you all – and I’ll continue to do so, since the mythos of Berserk has been a major backdrop of my creative mind for over fifteen years now and there is still so much to dissect and speculate. Personally, I don’t see Berserk ending just yet, if only because I’d be surprised that Miura or his publisher didn’t have some Operation London Bridge type plan in place in the event that this happened (Berserk is, after all, a major title that most likely brings Young Animal a lot of revenue). Again, I never treated Miura or Berserk as divine untouchables, so if there are plans in place to continue Berserk without Miura (BUT with his permission) or just on how to wrap up the story to give it a fulfilling conclusion, I personally would be okay with it (as a friend of mine put it, it’d be more of a tribute than an imitation). Going beyond our lifetimes, works will continue to be interpreted and reinterpreted as they have since time immemorial; perhaps Berserk will reach that point someday.

Honestly, and many have thought so too, Berserk was also meant to be cosmic level in both scale and concept. The plot is so grand and Byzantine that, even under Miura’s direct supervision, I always had a hard time envisioning how a story of this scale would conclude. As much as we love to hate him, a final showdown between Guts and Griffith seems too simple, too “good vs. evil”-esque for Berserk. Maybe having a low-key, vague but optimistic and bittersweet wrap up is what is best for Guts, Casca, and their new-found family. But that’s just another one of my fan speculations.

Regardless or what is to become of Berserk now, I think it’s safe to give adulations. We all came across Berserk at different times in our lives and stuck with the story for different reasons. For some of us, it was just another series that our friend from the campus anime club recommended to us; for others, we were drawn in from a morbid curiosity of its dark notoriety in anime circles. A few of us read for the gratuitous violence and the clout (because we all know you’re so deep and hardcore [/sar]), but a lot more of us read for the journey and the characters that we became a part of. The heaviness of Berserk made us confront a lot of trauma and even relive our own. For some of us, understandably, it was not a good idea to dive deeper (and maybe somethings could have been handled better); for the rest of us, it helped us cope, if not entirely through the story itself, than through the support network we made for ourselves in this fandom and its many realms (some realms, I argue, are more caring and nurturing than others).

From time to time, I always wonder if I would ever “grow out” of Berserk. There were indeed several times I took a step away from fandom and have tried to reduce my exposure to the story - but I always came back in some way, because the essence of Berserk has never left me and never will. Humorously I envisioned myself actually forgetting about Berserk for several decades, decades in which I work at my career, raise my family, mourn my elders, but continue living my life, only to go on the future internet in my mid-50s to find out… Miura is STILL working on that ending, sitting at his desk in the same pose as that famous monochrome capture of him, only he’s grayed and wrinkled, like the great Miyazaki.

The possibility of that future is over, but there are so many others.

#berserk #berserk stuff #kentaro miura #rip kentaro miura

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neon-junkie · 4 years

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Hey everyone,

This will be my final post addressing the fandom conflict that has quite frankly gotten out of hand. Although it’s very likely this post will be picked apart, no matter how well intended it is, I will no longer be addressing, interacting, or responding to any further accusations made against me. Of course, if people have questions from a genuine place of interest, I will be happy to clarify anything for you, either via DM’s or non-anon asks. I will not be answering anonymous asks on this, as I do not want anything else posted on this topic.

As a side note: For anyone tempted to wade into the debate, I sincerely ask you not to get involved. Do not make yourself a target, do not feel you need to ‘pick a side’, and please do not think you have an obligation to reason with either side. It seems to be well past the point of that, so please find people you get along with in this fandom and curate a space for yourself away from all this conflict.

Warning: This post will contain uncensored slurs, mentions of racism, paedophilia, transphobia, LGBTQ+ phobia, death threats, threats of violence, targeted harassment, and abusive language.

To start off, I want to apologise to everyone who has somehow gotten drawn into this mess by either defending me, following me, or interacting with my content. This whole situation with me began well over a year ago when I wrote a crack-smut fic featuring Javier/Micah, posted back in August 2019. A crack fic is defined as “a work of fan fiction that is absurd, surprising or ridiculous, often intentionally.” It was inspired by a camp interaction between Micah and Javier, and like many other fanfiction writers, I decided to write smut about it. The fic was titled ‘Dirty Fucking Greaser’, and if that shocks you, I’m sure you can imagine how shocked I was to be informed afterwards that ‘Greaser’ was in fact a very serious 19th century slur for a Mexican individual. My first encounter with this word as insult was via RDR2, where it was used like a very casual insult. My only prior knowledge of this term was in regards to the greasers youth subculture, so the severity was lost on me. This obviously does not excuse my ignorance, and I should have researched the term better, but this is just again to apologize for that oversight, the insensitivity, and to highlight that my use of this term was not meant maliciously. Following this being pointed out, I proceeded to make 3 separate apology posts [Unfortunately I can only find the third one: HERE], renamed the fic, and added slur warnings in both the tags and the fic description. When I continued to receive complaints and increasingly aggressive abuse (which included being told my apologies weren’t good enough and I should delete my account and even kill myself), I attempted to delete the fic and mistakenly abandoned it instead. I contacted AO3 to see if it could be removed, but they said there was nothing they could do. I contacted their DMCA takedown team, who also said they couldn't remove it. Please note that all this happened 7-8 months ago, and has been dragged on for almost a year.

So, from this one unfortunate incident, I’ve been branded a racist, and someone who attacks POC, when all I have done is tried to defend myself and correct my past mistakes. I could have done this more gracefully in the past, but frankly when you’re suddenly the target of unrelenting callout posts and nasty anons, it’s very hard to be open to criticism of this sort, but this is what I’m trying to move past.

Over the course of the year, this one mistake has spiralled, and the crusade against me has somehow coincided with moral conflicts over certain characters and ships. This has devolved into dehumanizing abuse, witch hunts, death threats, doxxing, anon hate, and much more unpleasant behaviour.

I have been in fandom for a very long time, and at the heart of all fandom circles is the fear of censorship and subsequent purges, so the ‘ship and let ship’ mentality was more or less the pinnacle of fandom philosophy. And yes, this can be problematic in some contexts. People have their right to be uncomfortable with content, have a right to be offended by content, but that is not content meant for you. This argument has devolved into ‘what material is morally right to engage with’ and that is a mentality in which fandom will not survive, because for every person who is telling me I’m an awful person for writing about Micah, there are three other people telling me how much they appreciate me making that content. For every fic in which I characterize Javier and Flaco a certain way, some people are made uncomfortable by it and others tell me they enjoy it. And this isn’t just white people, but POC too, which makes it very difficult to know whether I am genuinely in the right or the wrong, especially when it comes to the concept of ‘fetishization’ which I have been made aware I need to educate myself on. I intend to do so, but I disagree with the common accusation that finding non-white men romantically and sexually attractive is inherently fetishistic and makes me racist. It’s pushing a catch-22; don’t find POC sexually attractive? Racist. Find POC sexually attractive? Racist.

I am always willing to be (politely) approached about anything my readers may be concerned about, but if it’s something I’ve specifically tagged for (such as themes, scenarios, etc.) I’m afraid you consented to reading it and with that I cannot help you. You are just as responsible for curating your space and what you see/read just as much as I am responsible for tagging it appropriately.

On the topic of racism, I want to bring up my prior use of ‘white racism’ which has obviously been a point of contention among both white and people of colour. The (literal) black vs white concept of racism is incredibly American-centric, and as someone from Europe, which has a history of oppression against white cultures and those of people of colour, it feels inaccurate. However, this has recently been discussed with me and I came to the realization that while growing up, especially in the UK, ‘xenophobia’ and ‘racism’ were marketed as one and the same. So, with this little revelation in mind, I will no longer be using ‘white racism’ (Or ‘reverse racism’) to identify the abuse I have been receiving, but will instead call it by what it really is; dehumanizing, debasing, xenophobic, puritanical.

Very briefly, I will also touch on the NewAustin situation, which has also been dredged into this. I did not ‘chase a POC from tumblr’. NA was a minor who for some reason was on my 18+ blog and took issue with me, likely from the ongoing discourse regarding my fic and initial mistake, as well as my interest in Micah. They were subsequently harassed into deleting their account by anonymous hate following various conflicts with other users for their support of me or their ships in general. I have never encouraged my followers to target anyone, and have always asked to be blocked and blacklisted by those who do not like me or my content. When NewAustin messaged me following the deletion of their blog, I was admittedly indifferent to the point of being unkind, and accused them of sending the hate themselves. This was based on the anon hate being racially-driven without there being any prior knowledge or publication that NA was a person of colour. This aside, I should have at the time, whether I believed it was my followers or not, condemned this behaviour. Regardless of the issues I’ve had with these people, it is never ever ok to send hate to anyone, no matter the motivation behind it, and that should have been stated at the time.

All I can do at this point is acknowledged and apologize for my past mistakes, and try to improve myself going forward.

It is not my place to dictate the morals of the character/ship-aspect of this argument, and I am not interested in waging a war of opinion. This post is simply to clarify how I am involved in this, and why I am so viscerally targeted. You can draw your own conclusions, but I am no longer interested in this endless back and forth.

To my mutuals/followers, I stand by my request to not interact and to block and move on, as this is what I’ll be doing too.

Thank you for taking the time to read this, and I hope it makes things from my perspective a little clearer.

-RAT <3

EDIT: Just after this post was made, the fic in question was finally removed. I had to go through a DMCA take down, which can take months, since I originally abandoned the fic, thinking that meant delete. I explain this in more detail above. Said fic is gone, and has been gone since this post has been around.

#the tea #apology #long post

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confusedinfj · 3 years

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tips for developing fe? i find i can be immature in terms of being kind of a know it all, but i've been working on that. in general, i think my fe serves me okay now that i am learning to appreciate people more. i just wish it wasn't so difficult for me to express my feelings in a healthy way rather than repressing them until they burst.

Sorry it's been a while since you sent this! I found this to be quite a difficult question, and I hope this helps.

In general with lower functions, I'd recommend not focusing on them at all. Focus on character, because that's what you're really worried about here. Fe is (very short version) basically just a natural awareness of society/people and a strong desire to be apart of and connect with that community. Fe might naturally navigate society, but it can easily be manipulative in someone with bad character. In good character, it can be constructive and supportive in society. This question shows you have that desire to navigate society and connect with people, even if relational skills don't come easily to you - so you're already developing Fe! 👏

Tips though:

As for being a know it all (which I was as a kid 😂), you ultimately have to analyse WHY you're doing that. Is it because you like sharing interesting information? That would make it a bid for attention. You can learn a better way to try and befriend people, which will vary from group to group and culture to culture. Are you doing it to try and show people you're interesting? Interacting with people in such a self-distracted way doesn't work. You need to focus on the people in front of you instead, because it will usually help you figure out what to talk about instead. People always like to talk about themselves, so asking questions about their interests is a good start. You're only being a know it all if you're telling them things to show off, because you think you're better than them. If that's the case, you'll have to work out why you think that and ideally change it, because it's not a good starting point for friendships. Appreciation is (and you already know that too!)!

Appreciating people is the most important thing you can do, and that is entirely character related. You have to be able to see the beauty in each person's complexity, and want to know more about them. You have to develop empathy, which is totally separate from mbti.

As someone with high Ti, you might not be primed to be interested in every single person, but that's okay. Even high Fe users interested in every single person, it's okay to click with some and not others. The important part is respecting people in their humanity and being kind. If you follow social protocol, people can't even complain about you being rude. After that, if some people don't like you, it's not really a problem. There's no hard and fast rule for people, every single one will be different. It kind of sucks, but even as a high Fe user plenty of people don't like me 😂

As for the repression part of the question:

I've found part of having high Fe is being aware of how many relationships are actually shallow, and how many people aren't truly connecting with those around them. That means a lot of relationships in your life will just be polite, like at work, or school, or at the shops. It means a lot of people actually don't WANT you to express your feelings, because you don't have that kind of relationship. I know that sounds so mean 😂, but I want to make it clear it's honestly possible that people SHOULD be picking up on your feelings long before you feel you're going to burst. There are lots of micro signs that a person is upset, and a lot of people just ignore them. Sometimes they're not even looking for them, because they're not interested in deeper friendship. I've been horrified how many times people just don't notice when other people are distressed. BUT I'm going to answer the question with the assumption that you meant how can you better express feelings in relationships where people definitely do care and aren't just being awful.

Fe finds it pretty hard to express negative emotions, since it's very conscious of upsetting others. This is the one part of your question where developing Fe is what's needed, but alongside the development of assertive character. Well developed Fe can manage conflict, and recognises it's important to share negative feelings in order to have a true relationship. Otherwise the whole thing is fake. So, while expressing your feelings will likely kill a shallow relationship, it will deepen those with people of kindness and empathy.

So the answer is simple: just say it. I mean, don't scream it or anything, but just... try. Even if you have to cry, even if it takes ages for you to find the right words. You can write it down if you like, but I prefer not to have anything like that in writing. The general rule of thumb is, if it upset you, and you can't stop thinking about it after a few days, you should just tell them. Say, as an example, your friends went out to a movie and didn't invite you. If you think you have the kind of relationship where they truly care about you, you can just say - I was pretty upset I wasn't invited, because it seemed like you were trying to exclude me. (A general rule is that you frame the problem around yourself and your feelings rather than 'you went out without me and that was mean because you're a bully!' 😂). Then they have a chance to clarify or be mean 😋

I don't know if you're prone to oversensitivity, or if you think you are, but even then - your true friends should know who you are. In a lot of cases, communication solves the oversensitivity, because it provides an opportunity for people to explain their behaviour. (example: We didn't mean to hurt you, we thought you said you hated this movie and didn't want to see it with us - and you can be like, oops I didn't mean to say that but I guess I kind of did). It's better to risk sounding oversensitive than to attempt mind reading (because you'll likely be wrong and hurt yourself more).

Repression is a way to control emotions, but it almost always ends in a loss of control. The key to avoiding that is to express your feelings fairly close to as they come, as calmly as you can. Communication is, unfortunately, a skill that can only be developed in practice, not in theory. Although, if you have a good handle on the theory it helps, so you could probably write out scenarios before trying it.

If you meant that you're more prone to angry outbursts, the answer is still in early communication. Try not to think of it as a confrontation, and it might help fix the tone. Bringing up negative feelings doesn't have to be a conflict, it's as simple as saying a fact. Especially since someone who really cares about you should be willing to fix the problem with you.

I'd probably need specifics to be more helpful, but some dot pointers are:

If you want people to leave you alone for a bit, just calmly say you need to be alone for a while because you feel tired/stressed/a bit moody.

If you want people to pay attention to you and they aren't, try telling them you want to talk.

If you're too angry to speak to someone, tell them you're taking a moment to calm down. Don't engage until you can calmly articulate things. If that time never comes and you get angry every time you think about it, just try to say it as calmly as you can.

A lot of people recommend writing down negative emotions if you feel you're oversensitive, because it can help you figure out what can be mentioned. Supposedly, any issue that doesn't need to be mentioned will stop bothering you once it's written down.

Be careful not to mention a long term problem while you're mad about it. If it's something you've been holding on to for a long time, not sure if you should mention it, wait till you calm down again and then mention it's been something you've been thinking about for a while. Avoid saving up issues at all, but if you have it might be better to mention as many as you can at once. Otherwise it sounds like you're just keeping a record of wrongs and stringing it out.

Sometimes conflict is necessary, but that doesn't necessarily mean either of you did anything wrong. Try to look at any issue from that perspective if you can, and it will help you get through it all faster.

If you can't express yourself in a relationship it will ultimately be shallow and unfulfilling. It's never selfish to be genuine (that's not being mean on purpose obvs 😂), and good communication will help the other person open up too.

Sorry if I didn't manage to help at all, and sorry this is so long 👍

#Ask #Fe #Fe development #Cognitive functions #Cognitive development #Intp #Entp #Estp #Istp

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loveisneurotic · 3 years

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Kaguya-sama Blind Reaction/Analysis: S1E1

Hello everyone, this is my blog which I am currently using to react to and analyze Kaguya-sama: Love Is War much more seriously than I should analyze any romcom.

I have only seen the first episode of the anime, which this post shall explore using far too many words. If I'm feeling particularly motivated, I may read the manga as well.

My analysis will contain spoilers. If you're thinking of watching this show and haven't seen it yet, I recommend you at least go check out the first episode yourself before reading any further. I don't know what the rest of the show is like, but what I've seen so far has been both entertaining and thought-provoking.

I'm going in mostly blind, but not entirely blind. There are a few images of the anime and manga that I have been exposed to, although without the attached context. Due to cultural osmosis and the sheer popularity of this work, perhaps that was almost inevitable.

Figure 1.1.1: Why did this guy write an essay about a single episode of an ongoing romcom?

Kaguya-sama: Love Is War

Season 1 Episode 1

I Will Make You Invite Me to a Movie / Kaguya Wants to Be Stopped / Kaguya Wants It

Power dynamics in relationships

Figure 1.1.2: Immediately, the mangaka's tastes become clear.

I heard a saying once that really stuck with me: "The partner who cares the least has all of the power."

In the world of dating, I often sincerely believed this saying. You may yearn for someone's affection, but the other person need not give it to you until they are willing and ready. No matter how much you want it, you can't make someone more interested in you, unless you resort to being roundabout, such as adding some mystery and intrigue to your courtship. But is that excessive?

I once felt a potential lover slipping through my grasp, and before I knew it, I found myself chasing after them. As I was yearning for their attention, I felt as if I'd lost my dignity. It was humiliating. Painful. Was it just that they weren't the right person for me? Or was I not funny enough? Not charismatic enough? Not interesting enough? Too clingy? Too talkative? Should I have been more distant and given them more space? Did I seem too weak? Too eager? How should I have maximized my desirability? Regardless, I had surely lost. Perhaps they wanted the satisfaction and validation of conquering me. Playing me for a fool and asserting their superiority by being so distant. Isn't that right? Or is that just insecurity speaking? At what point is it ideal to cut one's losses and walk away?

If someone desperately wants the object of their affection to desire them, does that make them pathetic? Does it make them a loser? If you show more vulnerability and desire than the other person, does that truly make you the weak one in a relationship?

These questions plague our two protagonists and seem to be a driving force behind the main conflict. Since I have also grappled with how much to reveal my own feelings of desire, I find Kaguya-sama: Love Is War to be a particularly fascinating show.

Desire without action

Figure 1.1.3: Our protagonists are gifted with impressively high academic intelligence paired with impressively low emotional intelligence.

The show wastes no time in introducing us to our two main protagonists. Kaguya was born into a family of high stature (and says "ara ara" frequently enough to power a small country of weebs), whereas Shirogane is a "commoner" (Kaguya's word, not mine) who worked hard to reach the pinnacle of the student body. Like timid schoolchildren, they're crushing on each other, and yet they refuse to admit it due to their pride. Instead, they focus on getting their "opponent" to confess their love first.

What stuck out to me immediately is how they both have different ideas of what their relationship would be like. Shirogane envisions Kaguya as blushing, shy, and conventionally cute, whereas Kaguya (thankfully) envisions herself taking absolute dominance over Shirogane (which plenty of people should see coming as a character trait after the anime's very first scene). The bad news about this is that their two fantasies are at odds. The good news about this is that the mangaka has fantastic taste -- you can learn a lot about a storyteller based on the characterization of a love interest or lead character of the author's preferred gender.

In the event that the two of them become an actual couple, I wonder how on Earth they'll reach a compromise as to how they'll treat each other. Perhaps they will have to figure that out before they can even get that intimate.

I appreciate that we get to see both of their perspectives. It hammers home how everyone has a different truth in regards to what they desire and what they experience, and the show does not hold back when it comes to showing just how different these truths can be -- such as a certain lunch-themed sequence that I will talk about later. This works to great dramatic and comedic effect.

That said, when you spend your time fantasizing about what could happen instead of actually taking action, time is not so friendly to you.

Half a year passes.

Figure 1.1.4: Two geniuses dedicate their pride to wasting their life and energy.

Immediately, I got the impression that whoever wrote this segment of the story knows what they're doing. This is too real. And by "too real", I mean I very much appreciate the realism. How many of us have waited for ages (or for eternity) to confess our feelings to a specific someone?

This is the curse of having a crush and being incapable of acting on it. It's also why I hate having crushes.

Manufacturing affection in others, AKA the extraction of vulnerability

Figure 1.1.5: A plan is devised to weaponize jealousy in the name of affection.

To express your truest feelings means being vulnerable. That implies taking a risk and feeling responsible for any potential consequences of rejection, as well as putting our dignity on the line. It would be so much easier for the object of our affection to make themselves vulnerable instead. So instead of being direct and honest, we act indirect. We drop hints. We act suggestively, but not explicitly. We may even place them in situations where we think they are more likely to confess. If they don't pick up on it, we can pretend we didn't mean anything by it. That way, we don't have to risk our dignity. We can just wait for them to make the move.

It sucks.

Incidentally, it sucks even more when both you and your love interest are thinking that way.

It sucks infinitely more when both you and your love interest are COMMITTED to thinking that way.

Someone has to break the deadlock, whether that's immediately or eventually.

If this show isn't one of those romcoms where the status quo never changes ever (judging by the quality of writing, I have faith that it isn't), then at some point, either Shirogane or Kaguya is going to have to be explicit about how they really feel. And it's going to feel scarier to them than anything else they've ever done.

It's gonna be great.

If we could all grow up and live in environments where it's safe and encouraged for all of us to be honest about how we feel and what we want, surely love would be much less painful for so many people.

Chaos theory

Figure 1.1.6: If your prospective lover won't protect you, then your friend definitely will.

Chika is the ideal wild card and agent of chaos in this arena of love.

From a writing perspective, Chika is immensely useful. The mangaka probably could have gotten by without a third character in the mix, but she serves as a catalyst and an unknown element, able to create unpredictability and subversion of expectations. For a comedy-oriented story, this is invaluable.

Blissfully unaware of the mental turmoil that plagues our two lovesick dorks, she is able to unintentionally invalidate whatever schemes that Kaguya or Shirogane spent so much mental energy on, which adds extra comedy and tension for the audience. She is also an effective vehicle for Kaguya's jealousy and projection, as seen in the lunchbox scene which I have so graciously foreshadowed.

Figure 1.1.7: We have confirmed visual on an unidentified fourth person. Chekhov would love this. From their posture, I wonder if they'll be a gloomy character?

Misunderstandings and assumptions

I've heard that most interpersonal conflicts in life emerge from misunderstandings. In the absence of communication, assumptions are born and give rise to misunderstandings.

You may know where I'm going with this. Let's talk about the lunchbox sequence.

Figure 1.1.8 (not pictured because tumblr wishes to deny me of my image spam): Kaguya is too prideful to admit she thinks that a couple is doing something cute.

Figure 1.1.9: Pride is considered a sin for a reason.

From a writing perspective, I was impressed by the lack of romantic intentions in Shirogane in this whole sequence. Not once did he try to get Kaguya to show vulnerability to him. Instead, Kaguya is the only one spinning the situation in a romantic way, while Shirogane's driving force is the misunderstanding that Kaguya is looking down on him for what he eats. Because of this misunderstanding, Shirogane doubles down and makes his food even better, making the situation even more complicated and more stressful for Kaguya. This was definitely my favorite comedy sequence from the first episode.

I appreciate that the show has demonstrated the ability to create these scenarios where one of the characters doesn't even have love on their mind, but there are still romantic thoughts coming from the other character which drives the drama. It gives me a lot of faith in the variety this show will have to offer, and makes me excited to watch more.

When it comes to comedy rooted in misunderstandings, it is important to have miscommunication or lack of communication. In order to resolve a misunderstanding, you need to talk about it. For a pairing as dysfunctional as Kaguya and Shirogane, expecting healthy communication sounds highly unreasonable, which makes them prime material for a whole world of misunderstandings.

Misunderstandings are rooted in assumptions about what the other person meant when they said something or made a certain gesture or expression. When Kaguya glared at Shirogane and his food, he didn't even think to ask "What's the matter?" He just made an assumption about how she felt. I wonder if trying to understand Kaguya's feelings would be considered a sign of weakness by Shirogane?

A prerequisite to initiating an emotional conversation is the desire to understand or be understood by the other person -- assuming that your assumptions haven't already built a narrative for you. It is far easier to make assumptions than it is to attempt any sort of understanding.

In the end, Shirogane fled, unwilling to confront or attempt to understand the intense and passive-aggressive Kaguya. Kaguya feels that she cannot directly ask to try his lunch, so perhaps this is the closest she can get to initiating such a conversation with him at this time. Despite their mind games where they imagine the reactions of their opponent, they still have a lot of difficulty understanding each other.

I am curious to see if this prospective couple's communication skills and emotional intelligence will improve over the course of the story.

The burden of potential romance

Figure 1.1.10: Even the infallible genius Kaguya succumbs to superficial jealousy. It's "mind over matter" versus "matter over mind". That's how the saying goes, right?

Chika is a free spirit, able to ask Shirogane for whatever she wants without being neurotic. That is the power of not being bounded by a crush. Kaguya, who lacks that degree of freedom, briefly loathes her for experiencing something that Kaguya cannot ask for. It's amazing how much someone's feelings for a friend can change without a single word being spoken between them. All it takes is an action, unintentional or not, combined with the raw strength of insecurity. Just as quickly, the status quo can return back to normal too, with the act of properly making up.

To Chika, asking for food from someone doesn't mean anything at all, whereas with Kaguya, it is an admission of defeat. In that sense, a relationship that will only ever be platonic brings peace of mind, whereas a relationship that can be potentially romantic brings leagues upon leagues of anxiety if the outcome is of great concern.

Love is neurotic.

Is love worth the pain? For some people, it is not. For others, the reward is immense -- but only if you can make sure your relationship with this person doesn't end up being a nightmare for your emotional health.

Love and self-identity

The final scene of the episode surprised me in a good way. It's a brief departure from the comedy, and reveals a more heartfelt side of the show.

Kaguya's servant asks her an insightful question. It is substantially more insightful than I would expect from any romcom: "If you fell in love some day, would you wait for that person to confess their love, like now? Or would you confess your love?" I found myself immediately curious to hear Kaguya's answer, since I knew it would be highly informative about her character.

"If that time comes, I would consider the risk of someone stealing him first and come to the one rational conclusion." Even in the realm of love, Kaguya seems precise and calculating. It's as if she hesitates to give a straight answer, but then she confirms: "Of course I would go."

Figure 1.1.11: "Please understand."

It is not embarrassment or rejection that Kaguya fears; it is the absolute destruction of her identity and sense of self. Kaguya is the daughter of a family that practically runs the country. In her mind, everyone yearns for her and wishes to serve her. Turning that around and reaching out to another person to express her own desire would be a direct contradiction of that. It is probably a similar situation for Shirogane, where the infallible self-image he has built up is being put at risk during his romantic duels against Kaguya.

Kaguya clearly feels trapped. She and Shirogane see each other as threats to be conquered, but in reality, they both share a mutual enemy that is much more imposing and insidious: their own simultaneous disgust at the idea of vulnerability.

Their freedom is dominated by their insecurities, and so, even despite their impressive stature, they are still very human. Their upbringing that has lead them to become so accomplished may be more of a curse than a blessing, due to the resulting pride and self-image they likely feel pressured to uphold.

It is hard to cast aside a lie that you have bought into for your whole life.

If our two protagonists wish to have a chance of establishing a healthy romantic relationship, they have a lot of their own demons to overcome first. If they cannot set aside their pride and reach mutual understanding, they have no hope.

Until then, they will both remain trapped in a hell of their own design, however tragically comedic it may be.

My hopes for this story's future

I can tell that the mangaka, unlike far too many writers all over the world, actually seems to have a solid understanding of romance and the conflict that arises within. I've watched too many anime that place huge focus on the "will they or won't they" crap which never runs any deeper than one or both of the characters being too embarrassed to just say what they're thinking, without any sort of convincing mental blocker. In that case, it's clearly just manufactured drama which is designed to pad out the story and waste your time rather than pose interesting questions and themes. In the case of Kaguya and Shirogane, the two of them have substantial communication issues which are depicted in a comedic yet mature way, which I have found engaging.

I very much hope that the show will more deeply explore the themes and questions surrounding the ideas of vulnerability, emotional intelligence, and superiority within relationships. Kaguya and Shirogane have been set up to be great vehicles for such exploration, and I hope the mangaka can capitalize on that, especially if our protagonists can confront these issues directly.

My impression is that the ending will make or break this story. If the mangaka can pull it off well, I can already believe the payoff will be hugely satisfying.

Of course, in order to get to that point, we'll have to see a certain something. It has to do with the most sacred word amongst romcom enthusiasts: "progress". Indeed, after spending chapters upon chapters watching two characters bumble around amidst the same exact status quo, those little signs of advancements in a relationship are highly rewarding.

Underneath all of their aggression, if we can see Kaguya and Shirogane slowly open up to each other and realize the benefits of vulnerability, I think we could witness something really beautiful and really emotionally cathartic.

I've still only seen one episode, but I believe the mangaka has laid a fantastic groundwork for a series and can do a great job developing upon what I've seen so far. On that note, I will surpass our prideful protagonists by opening my heart to this story and entrusting it with my vulnerability, believing it can deliver satisfying development and resolution. You can do it!

Closing thoughts

I did not expect to write so much about a single episode of an ANIME of all things, but here we are. If only I could conjure this kind of power back when I actually needed it in high school English class!

The first episode alone is already so rich with characterization and themes that I managed to find quite a lot to talk about. Given how much I found myself relating to the characters and some of their situations, it's clear to me how this show became so popular. Not only are the animation, direction, and writing excellent, but also many people can probably relate to love feeling like a battlefield.

I do not want to believe in the idea of winners and losers in relationships. That idea creeps into my head whenever I'm having trouble keeping the interest of a new date, and I find myself wondering where those thoughts even come from. Lately, I have been reflecting on the way I relate to other people. Perhaps I've started experiencing this show at a time in my life when I most needed it, and that's why I felt driven to write such a large analysis.

This show poses some very interesting questions about romance that I do not actually know the answer to at the time of writing. I do not know yet how much the show is actually going to explore these themes. Regardless, I appreciate how this show is helping me reflect, and I am curious to see if and how the mangaka will answer some of the questions brought about by the story's themes.

This is a show that I'll most likely have to pace myself with. There was so much to process in this first episode alone. If I went any faster, I'm not sure if I'd even catch all of the details and character moments. I'm excited to move onto the second episode soon.

A highly subjective footnote about my cultured tastes

I'm glad that Kaguya is a sadistic dom with a gentle and vulnerable side, solely on the basis of that being my favorite personality type in a love interest. It also helps that it makes Kaguya's fantasies that much funnier with Shirogane acting so out of character. I feel like this show was made for me.

What was I writing about again? Oh yeah, writing a gigantic wall of text about an anime romcom. Somehow, I spent an entire day on this essay. Hopefully someone got a kick out of it.

#kaguya sama: love is war #analysis #long post #reactions

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mozillavulpix · 3 years

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super anti-komahina salt

and this is to go further beyond

I saw a komahina fan post a write-up and it just irritates me so I want to break it down:

“If you think Komaeda is batshit insane or that his character is only about his obsession with hope and you interpreted Hinata's feelings about Komaeda as just hate of course it wouldn't make sense. Except neither of these are true for their characters.”

This is the basic surface-level narrative Komahina fans argue against, and fair enough, it’s a massive generalisation. But this argument also just irritates me because it implies everyone who doesn’t ship them do so because they don’t understand the characters well enough.

“long story short Komaeda's obsesses over hope as a coping mechanism, because it's the only thing he can cling to.”

I can agree with this in a way, but in my opinion I don’t think he’s so weak that it’s impossible for him break free from that mindset (during the game) if he really wants to.

“Komaeda doesn't like Hinata because he thinks he is talented and above him, Komaeda says he loves all ultimates but it's not real love. His love for Hinata is different. In the SDR2 drama CD he mentions that he loves Hinata because he tries to understand him.”

I can agree with this. Although the Drama CD is literally just the Free Time Events, I don’t think it’s some kind of ‘gotcha’ like people think it’d be.

But also keep in mind, yes, Hajime tries to give Nagito a chance and doesn’t immediately run away screaming because scary person he can’t understand, but Hajime also doesn’t particularly act more saintly than all the other kids towards Nagito after Chapter 1. Nekomaru and Kazuichi seem to at least try to hear Nagito out before they punch him in the face. Mahiru seems like she was the first one to consider giving him breakfast. Hajime tries to stop Akane from attacking him after the Chapter 1 trial, but mostly because he’s resigned to the fact it won’t change what he did, and he then changes his mind and gets pissed off when Nagito decides to taunt him about his amnesia in response. And it’s Sonia who finally settles everyone down. So yes, Hajime tries to understand Nagito, but in the actual plot itself that’s not a special trait unique to him.

It’s only ‘unique’ if you choose to do the Free Time Events, and the Free Time Events...are basically not canon. They’re more like a what-if scenario the player chooses to view, and the dialogue was written from that perspective.

As in, maybe it’s canon that they’d interact like that if they spent time together on the island, but it’s not canon that Hajime does and wants to do that during the story. Because you can do them for everyone.

“And they reach a mutual understanding in DR3 because the two of them are more alike than Hinata would like to admit.”

Um...

Well, this is why DR2.5 is bullshit

I agree they’re similar, but I think both of them knew this from the very beginning. It’s not exactly a reason for reconciliation and forgiveness. The fact they have similarities is the exact reason why Hajime is so upset at his betrayal, and snaps back at Nagito every time he brings that up. So I don’t know if that’s really a good reason to explain why they’ve forgiven each other come DR3.

“Komaeda doesn't see himself as above untalented reserves either, because in 2-4, after realizing the truth about Hinata he says that they are the same, stepladders for hope. He was lashing out at all the students for being despair. They are similar, because they both share the same views that talent is everything.”

And then Hajime gets his character development for the rest of the game all so he can realise talent isn’t everything. So...?

“Now from Hinata's end, a lot of people seem to miss this about him, but he is someone who denies his feelings when they get inconvenient, he is called a tsundere by monokuma”

I guess this is a diss against the surface-level people and people who are like “but the text literally says this”. But even then, the game literally shows Hajime’s inner thoughts. If he’s conflicted about things, the text generally shows that too, even if it’s with a careful inclusion of a ‘...’

So I don’t think we should take that trait as an excuse to literally ignore what the text says.

He was felt pumped when Komaeda was out of critical condition, but he thinks "why do I have to feel pumped, oh well best not to think about it"....because Hinata likes to avoid facing things that inconvenient him. Hinata finds it hard to trust Komaeda and doesn't play along with him, because he is afraid of getting caught in his pace, and not because he hates him and thinks he is better off dead.

This part literally read like a high-schooler’s english essay, and maybe this kid actually is a high-schooler, tbh. Because that is one big leap from “Hajime finds it difficult to deal with his feelings” to “since Hajime finds it difficult to deal with Nagito, it means he doesn’t hate him”.

“I don't think Komaeda is a fundametally bad person but is shaped to be what he is because of his luck cycle. In his last FTE, Hinata asks what Komaeda would do if didn't have his luck cycle, and his answer was something along the lines of " a normal life, devoid of hope and despair". And we get to that his innermost desires is to live a normal life in the OVA, and his character song zansakura zanka.”

He can also just decide to not believe in his luck cycle.

Also, in the OVA, he’s embarrassed by that inner desire and tells World Destroyer he hopes no one saw that maybe he wishes for a world without talent.

Like his desire to be a good person is so hidden that he doesn’t want people to know.

“Hinata even mentions Komaeda isn't trying to trick anyone for selfish reasons in his report card, so it's a shame to see so many people attribute all of Komaeda's actions to malice just because of what Hinata thought of him in chapter 5 because it wasn't clear what Komaeda's reasons were at that point.”

Okay, a few things to unpack here:

Just because Nagito is doing things ‘for the greater good’, doesn’t mean it’s not also selfish. Hajime isn’t going to say that because Hajime doesn’t realise that. You can’t exactly trust him with being able to articulate everything about a character’s worldview. Izuru would. He probably does in Chapter 0. (And that’s why he seems disgusted by him).

Also, there’s “maybe Hajime is a slightly unreliable narrator because he tries to avoid thinking about difficult things”, and there’s “actually, the majority of how Hajime views Chapter 5 is unreliable because he didn’t know for sure if Nagito’s plan was malicious or not, it was just his gut feeling”.

What about the video message after Chapter 5? What about having to spell out ‘KILL US ALL’? What about Chapter 0 showing how in the real world Nagito had completely lost it? It’s not like the game was trying to present Nagito as any little bit more sympathetic after the trial. If anything, every piece of new info reinforced that mindset Nagito was filled with malice, up to the ‘fake Makoto’ saying that he somewhat understood him. The fake Hope made by Junko to trick them.

If you compare Chapter 5 in 2 to Chapter 5 in V3, you can see how the positioning is different. V3 does the “the villain tries to make himself look the worst he can in the mind of the heroes when in reality his real intentions were different” a lot better. More flat-out intentionally - the protagonist kind of literally giving a monologue about how the character was morally grey and even at the end there they couldn’t say they knew their true intentions. But also it’s just not as...sinister as 2-5. No ominous chanting, no dismembered limbs, none of the characters feeling completely out of their element and terrified. I think it’s text that Nagito is supposed to be villainous in Chapter 5 and even past Chapter 5.

So...

I can at least understand where Komahina comes from, but god it annoys me

Unpacking it like this, I can see it’s not even fair to argue back a lot of it - the stuff people are saying do make sense and are arguing against kinds of people I have seen.

Besides, I’m not arguing Komahina ‘can’t be canon’.

My view is just I think Hajime deserves better than a character like Nagito, who never repented for his actions on-screen or even gave much of a hint that he wanted to repent for his actions.

And that it’s still easy to argue that Nagito is a bad person even with his trauma.

Not everyone who calls Nagito an awful person is an idiot who doesn’t know how to read text past the surface, you can still make a nuanced take with that conclusion

for god’s sake

#danganronpa #anti #it's just my opinion man #fandom

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wordsnstuff · 4 years

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10 Mistakes to Avoid in Horror

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Valuing Shock Over Imagination

I’m only going to say this once: readers will always choose an imaginative story over a shocking one. Shock horror, gore, cliché, and easy solutions that the characters overlook for the sake of plot progression is shitty writing. Of course, shock, gore, and tropes all have their place in most horror stories but they are not the foundation, they’re the décor.

Not Doing Your Research

Just because a horror story isn’t a medical drama or a science fiction series doesn’t mean you don’t need to do your due diligence. The toughest part of horror is toeing the line that is the reader’s suspension of disbelief, and the most obvious mistake a writer can make that destroys this KEY part of the reader’s experience is to screw up the details. Research the way torture looks, feels, and how it affects the victim’s mental and physical state. If you’re going to reference or retell an urban legend, do some research on the lore rather than rely on the bits and pieces you remember from a 3rd grade camping trip.

It doesn’t have to be textbook level accuracy. It’s fiction. But all readers have their own patchwork collection of knowledge on the facts used in fiction, so you want to avoid pulling them out of the story by getting something wrong due to a lack of research.

Cliche

Unethical experiment, bas phone service, playing with demons, Car breaks down in a forest, family trip to a haunted house, ghost hunters, etc. are all clichés that most can agree have been beaten to death. The problem is not a “lack of originality”, it’s a lack of effort. When a writer scribbles a bunch of tropes on little pieces of paper and then picks 3 randomly out of a hat, it’s easy to tell.

Remember that it’s perfectly fine to use things that have been seen before, even over and over again, simply because they’re staples of the genre, but unless you make it your own, the reader will lose interest in not only your story, but your entire body of work. Horror is one of the most harshly judged genres in the literary sphere, and when a reader pegs you as a lazy horror writer, it sticks and it spreads.

Boring Main Character

Everyone on the planet has complained about the presence of boring main characters in horror. It’s not just about making the story more interesting or complicated, it’s about giving the reader someone worthy to root for. Humans are naturally desensitized to pain and fear that isn’t relevant to them. If the character is another faceless, nameless victim, there’s no reason for the reader to care whether they survive and recover or not. There’s no thrill in following their perspective because boring main character do not allow the reader to insert themselves. That’s not the goal of a horror story.

You don’t want the reader to feel like they’re running from the killer directly, because their first instinct when faced with fear is to run (disengage from the story). You want the reader to feel like they’re watching someone else run from a killer and that there’s absolutely nothing they can do about it. They should be invested in the survival of this character, and feel helpless and scared FOR them.

Boring Antagonist

Yes, most people are scared of death and pain and helplessness, but those should be products of a really strong antagonist. It’s hard to be afraid of an antagonist in any story because, deep down, we know that the hero (almost) always wins. Horror is the beautiful exception to that rule. It’s a coin toss as to whether the protagonist will survive and recover from the conflict of the plot, so take advantage of this uncertainty and make the villain truly and complicatedly terrifying. Make them human, deconstruct their motivations, and show the reader the parts of the antagonist’s point of view that most everyone can empathize with. There’s nothing scarier to an audience than their reflection in a black mirror.

No Stakes.. At All.

Yes, dying is very bad and very much something to avoid, but it shouldn’t be the only outcome of the conflict resolution that the reader is afraid of. Let me put it this way: there should be at least one or two moments where the main character is in a situation that prompts them to come to terms with their fate. This is where you show the true stakes of a horror story. “My kids will be without a mother”, “My dad will be stuck without a son to look after him”, “my daughter in the other room depended on me and there’s nothing I can do to save her and it’s all my fault”. These are people’s WORST real-life fears and (hopefully) a book is the closest they will ever come to experiencing them. Be aware of that.

Excluding Humor

Horror stories can have jokes in them. The best way to hit a reader really hard with suspense and dread is to lead in with a joke. Have a dad and his son reminiscing and joking about the son’s childhood in the midst of the situation. It humanizes characters to give them a sense of humor, so throw in a joke here and there to show the reader exactly what’s at stake. Protagonists are meant to be the light that the antagonist is trying to snuff out, so try to let the light in a little bit.

Shying Away From Real-Life Horror

Gore, ghosts, and surprises are staples of the horror genre, but an integral piece of the genre that’s often overlooked when one is analyzing horror is the real-life implications of the story. For example, Misery by Stephen King is scary because it’s got an obsessed fan+kidnapping+a hammer, but it’s also scary because it shows the worst case scenario of things like idolization, parasocial interaction, and the fine line between idolizing an artist and feeling like they owe you something because you support their creation. Horror stories should always have two edges: the surface-level fear and the deeper meaning.

Telling Instead of Showing

This one’s pretty simple, but worth mentioning. Don’t say that Annie Wilkins “hobbled” Paul Sheldon. Make Annie Wilkins grimace at Paul Sheldon before bringing a hammer down upon the round of his ankle, with a resounding crack and an agonized shout following immediately before she continues to the next.

(Sorry about all of the Misery references, I just watched the movie again.)

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funkymbtifiction · 4 years

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Hi, bothering you a third time (last one was here), thinking about what you said about how the Heart type lies to us, and the disparity between how we prefer to think of our own motivations and our actual motivations? We all lie to ourselves, all the time. I read about the Six tendency to blame others and feel intense anxiety because no one likes people who blame other people; I might secretly blame other people, but I will never, ever admit that (except here, with a pseudonym!) - because if I admit to blaming other people, then they won’t like me. If anything goes wrong, I always insist that it is completely my fault (even if it’s clearly not) - because I would much rather take the blame than risk making people dislike me. I often want to complain or vent, but I don’t, because I know people won’t like me if I do (and also - more importantly! - because complaining and venting brings everyone down and stresses everyone out, and I don’t want to do that). I often hide my true opinions and say things I don’t actually believe; I try to never, ever admit to any critical or judgmental or negative opinions of anyone.

I have to ask your something: are you enjoying being this way? Frankly, being so neurotically obsessed with making everyone like you all the time and offending no one (in essence, repressing all your opinions and personality quirks, and everything that makes you uniquely YOU in a conversation)… sounds like hell. Also, have people TOLD YOU they won’t like you if you vent or complain? Because… most people vent and complain. It’s how people deal with their anger and frustration. Do your friends do the same for you, in that they tiptoe around you and your views (the few they know about ;) and never complain to you and never vent to you or use you as a sounding board? What is the quality of a relationship that is so conflict-avoiding? It’s… superficial, because it’s a lie.

True friends know you’re not perfect and need to vent. True friends will allow you to hold opinions separate from theirs without being offended or writing you off for it. True friends will be there for you when you need them and expect you to do the same. True friends want you to be yourself around them, and not feel like you have to watch everything you say all weekend long just to avoid tripping an invisible wire somewhere that will cause everyone to run away from you.

Do you want to live this way for the rest of your life? Or at some point is it going to be too much to handle and cause an epic implosion of Self? Truth is, some people aren’t going to like you or your opinions. Others will. The only way to find out is to … say what you think. Talk about what’s hard in your life. And find out who is a “I don’t want to share any of your bad times with you” friend (superficial) and the “hold my beer, bystander, I’m going to bat for my friend” friend.

To be honest, your opening paragraph sounds more 9 than 6. Certainly, both of them together. 9s are pathologically afraid of separation and so repress themselves severely to avoid offending people or giving them a reason to walk away from them. 6s are more critical, inclined to complain, and quarrelsome, since there’s such a strong push and pull with authority.

The only time I’m willing to risk making people dislike me is if there is a truth that I think other people need to hear. Though really, I often wonder if even that is worth it; it’s clear civilization is going to collapse in a few years and there’s little chance that can be averted, so…maybe it’s best to keep quiet. We’re all pawns of history, anyway. (That may be Ni-Ti loop, speaking, but…)

Well, I’m glad you’re willing to do that much. :)

Although… you know that your fears and apprehensions about the future are not always accurate, yes? That what you foresee may not come to pass? It may be time to check your anxiety at the gate and consider a perspective that you have never thought about before – namely that 2020 is no worse off than many other time periods through history. The world has had good times and times of anarchy and massive upheaval. Civilization has survived much worse than the pandemic or riots, and having an apathetic “oh well, I shall just lie down in the middle of the road and let a truck run over me, because the world’s ending anyways” attitude will do you no good. Instead of negatively obsessing on a worst-case scenario, visualize what you want for your life, what you intend to do in the short term to get there, and imagine what could happen that might be positive. It’ll help you out of this depressive slump.

My point is: I may have a Two fix after all, I just don’t want to admit it, because I know that people who want approval too much are annoying, and I don’t want to be annoying, but the truth is, I DO want approval, so much…

I know that I loop out of Fe a lot, and that’s a problem.

Is it? Because … that was a hell of a lot of Fe you just admitted to. ;) You are willing to repress yourself, be inauthentic, say things you don’t fully feel, and desperately want attention and approval, all of which is “young Fe.” I want you to consider maturing your Fe. How do you do that? Start thinking beyond not wanting to offend people, to what is best for humanity. For the people in your life. What things do they need to hear, that only you can tell them with your Ni insights into their character? What things would improve their quality of life? What dangers can you warn them against? How can you help people who do not want to reach a consensus to understand each other and work together? How can you motivate people through emotional persuasion to do good things for a brighter future in your family, your community, on a larger sphere? Sometimes you need to offend a few people to make a difference for the positive.

In my better moments, I have this profound sense of all of us in the same boat, and that is good. It’s too easy to just see that the boat is heading over a waterfall and know that it’s too late to change course so nothing matters. But it does matter, of course, even if all we can do is comfort each other. Thank you, again, for your help. You have given me so much insight. Thank you so much.

Dump the pessimistic “we’re at the end of all things” attitude off the boat, Frodo. Humanity WILL survive whatever happens next. Question is, what role are you going to play in it -- that of a passive bystander or an influence for good?

Right now this world needs peacemakers. Is that something you can do?

#question #submission

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itsclydebitches · 5 years

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(1/?) I'm curious as to your thoughts: was there a good way to write Ironwood as CRWBY intended him, 'fundamentally good person shows signs of instability and a worrying commitment to the idea that everyone should be willing to make a sacrifice as long as he is, takes this to unacceptable extremes when a great sacrifice is called for'? I've been reading all these posts that actually make it seem like a coherent character arc, and I don't consider myself a 'bootlicker' or someone who

Always happy to explain my thoughts! Though Ironwood’s situation is incredibly complicated and I’m tired as hell right now, so apologies if this attempt at working through things is more than a little messy…

You’re right that Salem herself fundamentally changes the heart of the “well-meaning but ultimately misguided general” setup. Meaning, normally when we see a character like Ironwood, someone military-minded and driven by pragmatism, whoever it is they’re fighting against is us. It’s a war against other humans, or at least another intelligent (and sympathetic) form of life. Ironwood’s attempted archetype here relies heavily on the assumption that he’s taking things too far when there are better, more peaceful options open to him. No, general, don’t nuke all those people even though we’re at war with them because they’re still people. No, general, don’t blow up the alien ship even though you perceive them as a threat because they feel just like we do and I, the protagonist, believe that I can make peace with them. Though RWBY doesn’t have quite that same conflict—everyone agrees that Salem needs to go—it’s nevertheless worth acknowledging that his archetype is built on a history of unsympathetic characters… who are unsympathetic because they’re choosing to harm others for needless reasons. The hardened military general is an antagonist because he takes the violent route either due to greed or a lust for power. He makes sacrifices not because they are truly necessary, but because they’re easier or better for him. He believes that this violence/sacrifice is the only answer when the audience can clearly see another, better route. Think characters like Miles Quaritch from Avatar whose goal is, ultimately, to force a peaceful people out of their home/outright kill them in order to gain access to a natural resource on their world. Even if there is, broadly speaking, a “good” reason for doing this (humanity needs that resource to solve their energy crisis) there’s no confusion that his reasons are far from justified and that he’s taken things way too far. Not only because gaining resources is, you know, not a reason to kill people, but also because Jake Sully, our hero, provides him with alternative routes that he then rejects. These people are peaceful. We can negotiate with them… but Quaritch says no.

So this is, broadly speaking, the archetype Ironwood and Team RWBY are thrust into. He’s the general supposedly taking things too far and they’re the heroes standing in his way. Problem is, RWBY’s enemy isn’t a sympathetic, potential victim. The grimm are literally mindless beasts and Salem is a classic Big Bad. She might have a tragic backstory now, but that hasn’t impacted how we read her as a threat. She isn’t another group of humans we should be making peace with. She’s not an alien race who we just have to extend a hand to. Defeating her—in a literal way—is thus far the only possible route and that undermines the archetype Rooster Teeth wants to chuck Ironwood into. He can’t be the cold-hearted military man choosing violence over peace when peace is simply not an option.

So we have a setup where every single one of Ironwood’s decisions is automatically both sane and justified because there is an immortal grimm queen trying to kill them. And she cannot be reasoned with. Extra security? No duh you want that. Suspicious of others? No shit Beacon fell precisely because it was infiltrated. Making sacrifices? What else is there to do except roll over and let Salem win? The options presented to him were “make sacrifice” or “everyone absolutely dies” so no, in this case the sacrifice is not deemed “unnecessary” and therefore something that we can criticize him for. Ironwood is not fighting a powerful but also potentially sympathetic enemy, inviting a perspective that his actions may be too severe in the face of that threat. Salem isn’t a Darth Vader who is going to turn back to the light when she sees her child. She isn’t a Sauron with a convenient Achille’s heel (as of yet anyway) thereby inviting an easy solution that doesn’t risk too many lives. The grimm are not the Klingons who, if you just take the time to know their culture, you can find common ground with. They and Salem are more akin to the Borg: a relentless, unreachable, immortal force that seeks only to destroy everything. She is RWBY’s devil and thus by default any question along the lines of, “But should Ironwood really have..?” is answered with an emphatic “Yes.” Because the only other option is total annihilation for the entire world, not just the one city you’re worried about. RWBY’s villain is such a massive, unarguable threat that the setup doesn’t allow debate in regards to what’s going “too far.” By having Team RWBY and Oscar parrot those views from other stories they just come off as sounding naive, foolish, and arrogant. Salem is not an enemy that you just need to try really hard to beat in battle. She is currently immortal. She is not someone you just need to talk down. She will annihilate you and laugh while doing it. “Unnecessary sacrifice” only exists in a world where you have a chance of taking another route with success. RWBY hasn’t provided that route yet.

Thus, most military archetypes don’t have to face the level of threat that Ironwood does. In fact, their status as antagonists largely relies on the belief that the threat isn’t severe enough to warrant whatever horrific order they’re giving. Rooster Teeth has written a character based on tropes that do not work within the scenario they’ve set up… and a good chunk of the fandom aren’t critical enough viewers to see the disconnect. They just watch that collection of tropes and characteristics and fill in the blank based on what they know from the rest of popular culture. Like a really messed up Mad Lib. “Ah! I recognize this character! He’s a military man. He’s strict at times. He’s taking control of a situation and achieving that with an army. This is all a Bad Thing and I know that because I’ve seen it a thousand times before in a thousand different stories. The powerful military man is the antagonist and the heroes are the ones who fight for the marginalized!” And thus the viewer is encouraged to prioritize that assumed reading over the actual context of this particular story. Few are willing to admit that “Leaving marginalized people behind because otherwise we will all be slaughtered” is not the same situation as something like “Outright attacking a marginalized people because I want something from them. Or abandoning them because I just don’t care.” They see the basic, surface characteristics and think they know the answer to this story. Team RWBY = good and Ironwood = bad.

That’s only the tip of the problem though. It’s a big problem, but literally every step of the way Rooster Teeth would need to change things if they actually wanted to give Ironwood this arc in a way that made any sense:

They would need to change how they portray Mantle going all the way back to Volume 4 because we knew straight out of the Fall that Mantle has had a lot of problems for a very long time. That’s not all on Ironwood—it’s not possible for it all to be on Ironwood—and thus it’s neither correct nor fair to paint Mantle’s dystopian-like state as his doing, as we saw at the beginning of Volume 7.

They would need to convince us that Ironwood is actually paranoid/being overly cautious, rather than what we actually have which is… completely logical safety measures against everything that has done them in up until now. Everything Ironwood implements is in direct response to something that killed people or felled a school.

The story would need to give Ironwood better solutions that he then rejects. Obviously this is crucial for the leaving Mantle situation. As I’ve said numerous times before, you can’t paint Ironwood as a horrific person for following the only plan they had. “Stay to die” is not a plan. If they wanted him to read as in the wrong for leaving, Team RWBY needed to give him a good reason to stay, one that doesn’t automatically equal everyone dying, especially when Ironwood’s own solution is “save at least some.” However, this also needed to happen in regards to Amity. The fandom keeps pointing out that Ironwood took resources from Mantle, painting it as this cruel and awful thing… without acknowledging the necessity of that. Or that our heroes likewise demanded that he finish. Ruby is equally responsible for taking those resources. Again, if they want to paint Ironwood as unhinged and cruel in his decision, they need to provide him with alternatives: “Hey, general! Why don’t we just use these other resources instead?” “No. They must come from Mantle.” or “Hey, general! We’re just going to let you know that finishing Amity is fundamentally useless because you can’t defeat Salem with a giant army. Maybe stop taking resources now.” “No. I don’t believe you. I’m going to forge ahead with my own plans, ignoring this new information.” Neither of these things happened. We weren’t told that there was another way to build Amity and Ironwood wasn’t told that his plan was flawed… making his decision both necessary and justified, given what he knew. To my mind, Team RWBY is far more responsible for Mantle’s state since they encouraged that drain on the resources while knowing the use of those resources wouldn’t achieve what Ironwood assumed it would. Which, while failing to paint them as heroic, likewise undermines Ironwood’s supposed villainy. Why do we hate him for this again…. when Ruby is doing the exact same thing…?

They would need to have established, all the way back in Volume 2 and onward, a personality that allows for him to go to certain extremes, such as shooting Oscar. I don’t have the energy to dive into this one in great detail right now, but suffice to say the fandom has decided to horrendously miss-characterize Ironwood in an effort to justify an illogical action based on what we know about him. I’ve seen the “He once said he would shoot Qrow!” so often I’m literally astounded by the reach there, but I’m also seeing a lot of “Ironwood has never shown any sympathy towards children!” Which… okay. The absence of interaction is not proof of hatred. Meaning, having watched seven volumes in which Ironwood doesn’t interact with kids only tells us we don’t know how he feels about kids, not that he obviously despises them. A lack of scenes wherein Ironwood expresses his adoration for everyone under the age of twenty is not evidence for dislike, nor more than making a claim like, “Well Ruby obviously hates pears” would be. Why would she hate pears? Because we’ve never once, ever, heard her say that she likes them. She’s never spoken positively about them. Never stood up for them! So clearly they’re her least favorite food. Sound ridiculous? Same situation here. To say nothing of the fact that we do see Ironwood interacting positively with kids, if we define “kids” as “characters significantly younger than him.” We watched him desperately protect large groups of students at Beacon. Stand up for Weiss at the party despite how much that threatened his political situation with Jacques (as seen in Volume 7). Send Yang an expensive new arm purely because he knows what it’s like to lose a limb. The narrative has gone out of its way to demonstrate how kind and compassionate Ironwood is, all of which would need to be changed—if not outright erased—to give us someone capable of shooting Oscar like that.

The fact that the fandom chooses to ignore characterization doesn’t mean it’s not there and that characterization, at its core, fundamentally hinders the “military man goes off the deep end” archetype. Because Ironwood is nothing like his parallels in popular culture. His situation is not one that he can resolve peacefully. He was not given better options that he then rejected. He has never been a cold, manipulative, cruel person. Honestly, if they wanted to write this arc then they needed someone other than James Ironwood living in the world of RWBY. We’d need a different kind of war and a different character introduced all those volumes ago. Because as it is, the story Rooster Teeth wanted to tell simply isn’t a story fit for the Ironwood and the Remnant they created.

#rwby #rwby volume 7 #rwby volume 7 spoilers #mymetas #smallerthanzer0

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saraa-lancee · 4 years

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So what issues would you like them to tackle that hasn’t already been done on the show before?

(I just want to say this is my first ask ever and I've been here since... God maybe 2013? So thank you!!)

I would LOVE to see a new dimension to sexuality. I'm also casually of the team that's "Sara herself should say Bisexual" because Bisexual has only been said once on screen and Nate said it casually.. We have a scene where Sara says tells Nurse Lindsay that Lesbian isn't a bad word yet the show kinda doesn't act that way about Bi. Bi erasure is an issue that would be interesting-- since Sara is with Ava, it would be neat to have some line of "i didn't pick a team" or just along the lines of Still Bi With A Woman.

(They also missed an opertunity with Charlie to use neutral pronouns of some kind)--> a discussion further on gender identity would be cool too. There are casual set ups for this with Charlie, like in the Shakespeare episode, but nothing is ever really taken completely seriously or honestly even explicitly. I would really enjoy a nonbinary or intersex narrative in this particular context because I feel like the team of legends (as the people the characters are) would fit really nicely with that. But it would be cool to have a trans character that Gideon helps? Because the arrowverse trans character (in Supergirl-- Nia) is already transitioned. It would be cool to have a transitioning characer in a really casual way even (a particular scenario would be New Character leaving sickbey while someone else walks in. Other person asked if New is feeling OK and New just says like "oh yeah, just my hormones.). But yeah anything with gender identity.

I always hunger for more disability stories, but based on how they Wrote Sara's blindness... yikes. I remember watching a panel or something on YouTube about how Caity was hoping that Sara was at least going to have a cane or be shown to struggle with some stuff, but the writers ignored all of that. So its kind of touchy based on that but I think it would be really neat to have someone with a prosthetic (or even just an amputation, someone born without a limb, etc.)-- it would be a beautiful narrative about 'Gideon can literally grow you a new arm' and that character firmly saying no, this is me, having this difference doesn't make me less, you aren't "fixing" me because I'm not broken, I like myself, etc, whatever.

I know that for me personally one of the best things about the show is that Sara and Ava don't have to come out, and everyone just treats them like normal, but I think some kind of homophobia narrative would be good, not to a big extent but just to the extent like in S1 when Kendra and Ray move in 1950s and that dynamic only with the girls. Like, for the show to acknowledge homophobia in such a direct way, as they did with interracial relationships. This beyond the obvious homophobia of the Nazis. (I personally can't think of an aspect where its implied, but sometimes I can miss or misinterpret implicated stuff like that).

I would love to see a return to POC cultures and narratives (narratives outside of racism) S1 with Kendra and Carter and the Egyptian culture aspect, Amaya and Zambesi aspect. We see a tad bit of this with Zari and the bollywood scene, and Japan post WW2, but they are more side aspects now. It would be neat to go to India or other places in southeast Asia (culturally), or Central/South America. Overall, I would just like to see more of that cultural aspect because human culture is something that interests me a lot and I feel like can be easily casually thrown in with time travel--- traditional clothes, buildings, and ideals (an example of the ideals is the discussion in feudal Japan about the cultures views on death).

I feel like there was a lot of potential with Hank and Sara to continue that discussion about women in power. Yes, we have discussed this before. We do it a lot in second season with the JSA and even Jonah Hex but I think Hank had a lot of potential to add a dimension to that discussion. (honestly see next paragraph for more). That whole episode with the Minotaur i would have loved if they'd been a bit more explicit with that-- yes, obviously a woman can be in charge (in Hanks mind) but he has the right to walk in there and take over because her experience doesn't matter and also we will do whatever he wants. Sara spends almost the whole time just rolling her eyes and bitting her tongue besides a light quip in the beginning asking if a girls ever punched him. in the past Sara has literally exerted dominance over men so I was just kind of disappointed with that dynamic. I love the character of Sara as an "unconventional woman" or a "strange friend" and I've noticed comments like that pretty much stopped after the 3rd season. I know some people hated those comments but I think they can be good. I enjoyed them and would like to see them again because it's literally just Sara being unapologetically herself, a strong woman, doing whatever she does, no matter how weird or unconventional it is. (Which is an integral part of Saras character to me)

BUT its also not necessarily "new" issues. Issues don't go away in real life-- we had multiple issues about Race in America with Jax, from different points in history (Slavery and the 1950s). Jax even mentions how he still experiences Rascism today. The issues don't go away and just because they are mentioned once doesn't mean they can't (and shouldn't) be examined from other points in history. IE just because the show has talked about it before doesn't mean we can't talk about it again from a different angle and/or perspective.

I see a lot of potential with Astra with the racism thing (people are nicer to me in literal Hell) but it also would have been interesting with Mona, to show a different type of racism would have been INCREDIBLE.

I also can think of maybe a scene or two that would have just been a nice touch with Zari (either one, but I have a soft spot for Zari 1.0, and I think with her life as an illegal Muslim would have been an enriching perspective) as a Muslim. They are very good to her character in the way that she obviously abstains from Liquor and Pork, and observes Ramadan. But one thing that would have been interesting is for Zari to experience early 2000s (or honesty still right now) xenophobia. Especially Z1 since being a Muslim is Illegal in 2045 there was a lot of emotional potential there. (Although I feel like I can understand why the writers didn't want to touch that because of current conflicts).

Since we're going to outer space (that was actually confirmed right? Or was it just hinted and I misread??), I think issues will have to be character driven rather than time period driven. But therin we have a lot of potential-- a race of aliens without distinct genders (wait, so your worth can be dictated based off of your genitals?? Plus sexuality stuff there), aliens confused about race (I don't understand some of your skins are different colors... and your people treat each other differently based on this?). We could introduce a matriarchal society, which the crew with Captain Lance feel particularly unphased by. Perhaps we have a completely pacifist society or aliens made of inorganic materials (debates about what constitutes as alive, what lives are meaningful, etc.) You get the idea(I adore star trek so you can imagine my glee thinking about some of those scenarios).

I think for me, the hard shift to comedy was at the expense of some of my favorite aspects of the show and also things that set it apart. This Found Family is so rewarding because they are all so so different but those differences enrich each other. They become better people and feel at home without having to change who they fundamentally are. And they are whoever they want to be. I feel like now the show has simply had an incredibly jarring tone shift thats trying too hard to be a comedy. (This one is just an opinion but a joke among all the serious is always just a lot more funny to me. I find myself laughing more at one liners and random stuff in the early seasons. Now it feels like 'ok, what's the next ridiculous thing.')

I think... humanity is pretty dark. But humanity also rises above. This is why I adore the episode from post WW2 Japan and to me it personally really stands out from other episodes in s4/s5. The idea of creating and destroying, pain and sadness locked inside, terror and hatred for the beings you share the planet with. That pain creates monsters. Sometimes by accident. (Sara's pain turned her into the version of herself she called a monster.). And also about embracing your passions (Mick hiding his writing). In that episode, we still have jokes about Godzilla. Garima appears and its hilarious. But it's also an incredibly powerful narrative about pain and fear and shame and gives a perspective that the western audience wouldnt... necessarily think about (the actual consequences and what the bomb actually literally did.).

That darkness makes the light so much more meaningful. If everything becomes light... than why are we still fighting?

Sorry if this is jumbled, I'm on mobile so.

Also, sorry if this is a rant or whatever. I am very passionate about this topic and oh boy if I was on a computer and had the time I'd probably repondd with a link to a doc.

#also im autistic but #that tone my guy #legends posting

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nickjunesource · 5 years

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Someone in the YouTube comments for next week's promo stated the reason that Nick hasn't been present in this season is because Max was directing his film, "Teen Spirit", so the writers of THT had to deliberately write him out of most episodes. It makes sense since all Max has been promoting on his SM is Teen Spirit. It is saddening though because the story this season doesn't feel complete without him, an integral component missing. But I do believe he'll come back for the final episode[s].

i have been hearing this a lot lately. and it’s fake. allow me to dispel this myth here and now with a little story, because i witnessed max minghella talk about this to great extent in person.

back in april i attended a teen spirit screening + q&a with max and jamie bell. max discussed his schedule with us twice that night. the first time was during the actual q&a where he recounted the breaks he took for handmaid’s tale. teen spirit wrapped filming in 2017, he took a break to film season 2, then came back and finished all the teen spirit editing after. he said he was not frustrated about having to take 2 years to finish teen spirit, but actually grateful for the long breaks because it worked wonders for his creative process (by giving him “fresh eyes” as he called it)

the second time he discussed it was after the q&a when he was hanging out with fans, chatting and taking pics with us. this time he became a little bit… defensive about it? not defensive in an offended way, but in a “panicky” need to explain himself sort of way.

you see, one fan in particular expressed her worry about his role in THT being reduced since he wasn’t in toronto filming at the time. max instantly said “no, no, no!” and his whole body language shifted. like he literally came closer and put his hand on this woman’s shoulder to comfort her, he was so serious.

he was insistent about reassuring her (and the rest of us who were still present and listening) that wasn’t the case and that he never lets any of his personal projects conflict with handmaid’s tale. he actually spent quite a while explaining this (giving us another, even more detailed recount of his schedule for the last 2 years) and we could all tell he took the concerns seriously. (and he took us seriously! it was a very wholesome interaction that stood out to me, which is partly why i remember it so clearly. like he genuinely wanted to comfort his fans and wanted us understand his side entirely before jumping to conclusions?)

all of this happened months before season 3 aired. at the time i had no idea nick’s role would be so drastically reduced. but now that i know, max’s reaction was actually extremely apt and telling of what was to come. (and i probably should’ve asked him more about it at the time, but he was being quite tight-lipped about any season 3 talk.)

2 other notable things he mentioned at this q&a that lead me to believe him when he said he doesn’t let his projects conflict with THT:

that he wasn’t expecting to do this much PR for teen spirit (which i suppose could just be him being self-deprecating, but in retrospect i do wonder if he meant that he didn’t expect his schedule to be so open)

that they spend so long filming handmaid’s tale (7-8 months) that it’s relatively easy to work around schedule conflicts with any of the cast. (keep in mind that he was still flying to toronto back in april/may (1, 2) even while doing various kinds of teen spirit PR.)

all of this + the fact that in every interview he expresses how much he loves working on the show… i don’t believe for 1 second that it was max’s choice.

i believe this was entirely a writing decision because bruce has said he likes his characters to “leave orbit” for awhile. was it a good idea? not at all. this would’ve been the ideal season for world building from nick’s perspective and i think that’s a huge opportunity missed. but they have mentioned more than once their plans to make june feel “isolated” this season, and i think removing nick from her life and subsequently ours was their way of doing that. much like they have cut out flashbacks this season to make us feel trapped on june’s level. (and i hate it. i don’t think these are ~creative writing decisions at all, but i digress.)

and, i mean, i heard max clarify this with my own ears. i watched him try to reassure that worried fan and explain himself in depth when he didn’t have to. and he’s never been known to lie in any scenario. so i’m going to go with max on this one, instead of some rumor from youtube, and say that he would have put season 3 ahead of his personal projects… had they only given him the opportunity.

edited to add: for further proof, here is an interview where max says more or less the same thing he told us during the q&a

THE BEAT: You’ve been doing “Handmaid’s Tale” for the last few years. Was it hard to juggle the schedule for that and make this movie? Did it take longer to finish the post because you had obligations to the show?

MINGHELLA: That’s a very observant question. I mean, what basically happened was that we finished shooting the movie and then I went and shot Season 2 of the show, so I took a hiatus for a long time, like six months, away from the movie before I really committed to the edit. That was just a lovely gift, and I don’t think I’ll ever get that privilege again of having that time built into the schedule. It was like a very lucky thing, but it just meant that when you come back to look at it, you’re completely objective already since it’s been six months since you had to be around this film and the world of it. That was very helpful. Even though it ended up taking longer, it also expedited things, too. x

#Anonymous #max minghella #nick blaine #the handmaid's tale #asks

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warsofasoiaf · 6 years

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Hergrim and the Westerlands Campaign, Pt. 5

Oh, you misunderstand. It’s the depiction of it that gives Alexander one of the reputations of being this unconventional movement wizard. Cao Cao’s movement being exaggerated way before the 200 liis sort of the same effect. It’s a brilliant move, but heroic mythmaking makes it into something different entirely, and GRRM likes to use some of the heroic mythmaking for his fantasy story, which was part of my original point with the whole Birnam wood deal.

Ah, I get you now. I was being far too literal rather than thematic. I don’t have anything against heroic mythmaking per say, just so long as it’s used correctly. Using the Battle on the Ice as presented in Alexander Nevsky as the model for Stannis’ upcoming battle in TWOW (assuming that the Night Lamp theory is correct) is an excellent example. In real life, the ice never cracked under the retreating knights and they didn’t drown (and casualties were actually relatively light for the Germans), but GRRM definitely seems to be heading in the direction of a similar scenario. However, he’s not just well and truly prepared the ground for the deception to revealed, but created a situation in which it can plausibly happen.

With Robb’s campaign in the Westerlands, I can buy Grey Wind finding the goat track (or it being attributed to him instead of some peasant or smuggler) and Robb making use of it to bypass the garrison at the Golden Tooth. I can even imagine him surprising Stafford’s army in a night attack and destroying it. These are plausible scenarios and fit well with the various bits of mythmaking from historical sources. The thing I have an issue with is Robb’s very large and noticeable army managing to move a couple of hundred miles through enemy territory undetected. That’s just a shade above mythmaking than I’m willing to accept.

This is a weird thing because I get all sorts of conflicting information on the Westerlands-Riverlands northern pass, in impassibility and defense. Do the Westerlings control that stretch of land, can you drive an army column through it? Another reason why an atlas would be awesome.

WOIAF has the Westerlands firmly in control of the narrow strip of land from about halfway along Ironman’s Bay down to the low mountains/high hills north of the Tumblestone. I’d say that you could definitely drive an army through it, though it’s possible that a lot of the land is marginal and tends towards pasturalism and supplemental rye or oat based agriculture and thus couldn’t sustain a large army.

Relooking at the maps just now, I’m puzzled myself regarding the Tumblestone’s valley, since none of the maps, whether the original maps in AGOT, the map in ADWD, the above map from WOIAF or the maps from Lands of Ice and Fire show anything like a serious barrier to an army along that valley. The lack of a major road isn’t really that serious an impediment, and none of the terrain looks to be unsuited to an army, unlike the mountain range passing through the Golden Tooth. Any ideas?

Noted, I’m just pointing out that the lack of sallies and trying to figure out why they didn’t utilize the castle network that they had.

That’s a fair point. It’s hard to tell whether it’s down to a lack of manpower or GRRM’s relative unfamiliarity with the small scale of medieval warfare.

I normally agree that Tywin is a cautious commander, but his notorious blind spot comes when Lannister dominance and supremacy (joined at the hip with his own) is challenged. The Clegane plot is evidence of that, he lucks out significantly in Robert not being around and Eddard capable of influencing him at court, and in Clegane attacking a royal banner at the Mummer’s Ford.

Another fair point, and one I’ll concede without qualification having thought it over some more. Tywin would indeed be likely to go for a decisive hammer blow and throw all his spare strength at it if Robb baited his trap appropriately (such as with himself or someone wearing his armour and next to the Stark banner).

According to the PrivateMajor Timeline, Whispering Wood happens 22 Dec and Whispering Wood happens 9 Jan. Figure that Jaime spent some time resting his troops and investing the siege, and I think he doesn’t have enough time to hit Fairmarket.

I’ll have to respectfully disagree with the PrivateMajor Timeline. 14-18 days would be a conservative estimate of the time between the battle under the Golden Tooth and the battle outside Riverrun (I prefer 10-14 given a distance of 140 miles). Catelyn VIII (AGOT) has the Golden Tooth happening “less than a fortnight past”. Robb is still at Moat Cailin then so, depending on how much less than a fortnight the battle was, the battle at Riverrun might have already occurred. either way, it probably occurred soon after he began the track through the Neck. Given the distances involved, Jaime had at least a month before Robb even reached the Twins (as per my last post) in which to rest his men and send a detachment to Fairmarket.

I wouldn’t be surprised again if Jaime did go slim on the baggage train explicitly because he was said to be aggressively hunting down raiders and didn’t want to bother with such trivialities. I agree that if that was the case, it’s overegging the pudding, unless Jaime’s later chapters were going to have him get gritty with the baggage train metrics.

Which is still a potential problem for Robb. Maybe he has another detachment to hit it at, or close enough to, the same time as Jaime’s main body, but I doubt the terrain is going to be quite as good for an ambush, any unforeseen delays in attack might well allow large portion to scatter, including mounted men who could flee back to the camps (and who would be wearing little to no armour, and thus able to move faster for longer), and some might well escape in any case. Historically, it’s proven very difficult to achieve complete annihilation in the necessary manner.

This is a good discussion, I hope the readers are getting as much from it as I am.

Ditto!

Hergrim and the Westerlands Campaign, Pt. 6

Ah, I get you now. I was being far too literal rather than thematic. I don’t have anything against heroic mythmaking per say, just so long as it’s used correctly.

Same. From a writing perspective it’s actually quite brilliant, because the dramatic considerations have already been made in the course of heroic myth-making. This isn’t to undercut GRRM’s ability to craft drama or the written word, he is talented at both, but the more audiences change, the more they stay the same.

The thing I have an issue with is Robb’s very large and noticeable army managing to move a couple of hundred miles through enemy territory undetected. That’s just a shade above mythmaking than I’m willing to accept.

I suppose that’s fair. I admit, it works more as a character piece of the military prodigy dead before his time ala Alexander the Great than the nuts and bolts of every movement. Perhaps if Robb or a POV near him were given some more wordspace, we could have seen some more ground as to how that worked, or more stuff to complain about.

WOIAF has the Westerlands firmly in control of the narrow strip of land from about halfway along Ironman’s Bay down to the low mountains/high hills north of the Tumblestone.

The lack of a major road isn’t really that serious an impediment, and none of the terrain looks to be unsuited to an army, unlike the mountain range passing through the Golden Tooth. Any ideas?

I’ll be honest, I’m not the biggest fan of those maps, especially the Vale one. I’ve always pictured that stretch as treacherous, barely passable, rain-swept cliffs, with any road similar to the Yungas Road, prone to collapse, simply because we don’t see the house charged with holding that northern pass held in the same esteem as the Leffords, Crakehalls, and Serretts, the guardian houses of the Westerlands on the principal roads. Similarly, we don’t see ironborn landing at that area by Seagard and marching into the Westerlands to pillage under the Hoare overlordship of the Riverlands. But I’ve got nothing that gives me a firm “this is it” on that terrain.

That’s a fair point. It’s hard to tell whether it’s down to a lack of manpower or GRRM’s relative unfamiliarity with the small scale of medieval warfare.

No reason it can’t be both. GRRM has a pretty big blind spot when it comes to numbers.

Then the question would be whether he would pull an Artys Arryn at the Seven Stars. I’m doubtful, if only because it seems that the Northern commanders (Roose excepted) seem to mandate putting one’s self in the place of greatest danger in an extension of “he who passes the sentence swings the sword” to the sphere of military command. I’d pick Robb over Tywin if only because Robb has been handily defeating Lannister armies before, but I am 100% with you that a hypothetical Tywin-Robb cavalry showdown is a far higher hurdle.

Well, this would be more something to take up with PrivateMajor than myself, but Jaime’s army did take Raventree Hall and burn it before the Whispering Wood. That might explain some of the delay. Similarly, chasing Marq Piper around might cost Jaime a few days, as might giving his men a rest day after the battle of Riverrun as a celebratory reward, along with some strongly worded demands to Tytos Blackwood for his surrender of the Riverlander garrison.

Historically, it’s proven very difficult to achieve complete annihilation in the necessary manner.

No arguments there, unless there’s an encirclement like at Cannae.

Ditto!

Well, if @tbhasaka is any judge, they’re liking it. Now I need to stop playing Resident Evil 2 and Hearts of Iron 4.

-SLAL

#hergrim #war of the five kings #strategy #robb stark #submission

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gonewiddershins · 5 years

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Romancelandia you don’t have to ask I’m just gonna say it anyway~

Original Post Here

Barbara Cartland: Favourite author?

Courtney Milan.

Alisha Rai: Favorite era? (i.e. when they were written, not when set)

Current! I’m ecstatic to see how much more punk the romance novel genre has become lately- so many authors explicitly talking about race and class and gender and mental health and neurodivergence in so many interesting ways. Independent publishing opening up entirely new avenues which were not recommended for traditional publications. It’s exciting and wonderful.

Eve Dangerfield: Favourite setting for historicals?

Not sure if my opinion matters here because I have read books from very few eras? I think my preferences have moved to mid-to-late Victorian era for England-based books, but what I really want more of is historicals on other (non North American) continents. I badly want to do a romance in Historical India that is not about Englishmen, for example. Like a Muslim and Hindu falling in love during the Aurangazeb era, maybe.

Anne Mather: Favourite contemporary setting/sub-genre

Again, I haven’t really read enough to form a nuanced opinion- when I look for contemporaries, my first priority used to be “does this make me laugh?” Which is um- a relic of a bygone era, because that used to be the only thing I wanted from contemporaries.

Right now, I try to get read more of diverse romance in contemporary eras. Again, including non-American/English nationalities.

Georgette Heyer: Third or first person tense?

Either will do. It’s not really a factor in how much I enjoy a story.

Lisa Kleypas: Hero/ine you’d most like to date & Jane Austen: Hero/ine you’d most like to be friends with

Same answer to both of the above categories. I’ll take anyone who I think is a rational person who forgives misunderstandings ans does not try to actively make them. I’m not really that picky.

Amanda Quick: Hero/ine you most relate to

At the time when I first read it as a dramatic early twenties person, Minerva Lane from Courtney Milan’s The Duchess War spoke to me. There was a lot in there about fear and having to push yourself down fro the sake of survival that was similar to my life back then. I cried a lot when I read that book.

More recently, I really wanted to snuggle up to Verity Plum from Cat Sebastian’s A duke in Disguise because her feelings of independence and placing it above pretty much everything else her life is... yeah. A lot of what Verity says sounds intimately familiar.

Julie Anne Long: Historical or contemporary?

Historical. Given a choice between two books which are similarly positioned in terms of tropes I like and hate, I’ll pick a historical every time.

Mariana Zapata: Open or closed door sex scenes? & Anne Hampson: Erotic or clean romances?

Ninety percent of the time I’m thoroughly disinterested in the sex scenes, and sometimes I am actively annoyed at the many pages of boning happening while the protagonists barely have an emotional connection. That said, there are plenty books which have no sex scenes where I am reduced to gross sobbing because GODDAMMIT THERE IS TOO MUCH SEXUAL TENSION IN THE AIR GIVE ME BONING.

I am still thirsty about Jo Beverley’s The Unwilling Bride. There was so much sexual tension and growth and Lucien was hot as hell but there was no sex scene. //grumbles

Elizabeth Hoyt: Paranormal or science fiction?

I haven’t read that much SF romance, but I’m going to pick it anyway because the usual tropes associated with Werewolves/Vampires bug the crap out of me.

Nalini Singh: Favourite tropes

Both the protagonists have problems with stakes, and one is not there to manic pixie the other. Protagonists have relationships (non-romantic) outside of the romance. Subversions and reversions of gender norms. Banter and Snark. Character tries very very hard to not be emotionally vulnerable, but goddammit there are these stupid feelings.

Alyssa Cole: Least favourite tropes

Prolonged Miscommunication. Slut shaming, especially when coupled with I Have Had So Much Sex and I am So Experienced hypocrisy. Gratuitous sex with no emotional connection. Protagonists immediately throwing over all other friends/family/loved ones for the sake of their new romantic interest. False competence in female characters which immediately get thrown to the wind when the romantic interest comes on scene (Ahem. Never Judge a lady By Her Cover.)

Rose Lerner: Favourite / Least favourite series

Nope.

Sandra Marton: Favourite romantic non-romance or love story

Unspoken Trilogy, by Sarah Rees Brennan. It is in part a fascinating exploration of privacy in a relationship- most of the rest of it is about friendships and platonic relationships. There is also a cult of sorcerers trying to take over the world via human sacrifice but I continue to insist that’s mostly just setting information.

Skye Warren: Any problematic faves?

I have a depressingly large soft spot for anything funny, and I will forgive a lot of despised tropes if a book makes me laugh. I’m easy.

Specific examples: Until You (Judith McNaught), Dragon Shifter Series (Katie MacCalister).

Ainsley Booth: Position on HEAs

I’m cool with those.

Abby Green: Position on HFNs

I like these better than HEAs, because the characters I like tend to be difficult and also fighting various difficult scenarios so it’s far more likely that more problems will pop up in their lives than not.

Kristen Ashley: Position on the “romance novels are feminist” discourse

Conflicted. I think many romances are feminist, but there are an equal number or more which are patently not. Like all other genres, it has to be judged on a book by book basis, not for the genre as a whole.

Carla Kelly: Position on the “calling romance novels trashy is problematic” discourse

Yes. Outright dismissal of an entire genre is just dumb.

Diana Palmer: Position on the “are romance novels porn” discourse

Ha, no. Porn is porn.

Johanna Lindsey: Position on the “romance novels represent the female gaze” discourse

Yes, I guess? In many romances the way men are portrayed is markedly different from the way they are seen in other genres. Again, this is not a universal constant- all romances do not show men in the exact same way.

Also, it is hard to find any other genre with a larger proportion of characters, viewpoints and conflicts centered around women so there’s that.

Mary Jo Putney: Position on the “calling romances without sex ‘clean’ or ‘sweet’ is implicitly slut shaming romances with sex” discourse?

Yes. Just call them romances without sex. What are we, the moral police?

Cara McKenna: What’s your hot take on the “forced seduction” trope?

I understand the time and place where there scenes were popular, and the social norms which prompted them. I’m still uncomfortable with them and there are may things I’d rather read about so I avoid them.

Abigail Barnette: Opinion of Fifty Shades of Grey

Never read it, don’t plan to. Like I said, sex is not really my thing.

Tessa Bailey: Opinion of Twilight

I gobbled these books like a maniac when I first read them and there is a lot of pure entertainment in there and there is so much emotion. That said, they are not quite as interesting on re-reads. :(

Kathleen E. Woodiwiss: Opinion of Pride & Prejudice

I’m not comfortable with the prose, which means i prefer to watch/read adaptations. Most notably the Lizzie Bennet Diaries.

Lynne Graham: Opinion of Harlequin Mills & Boon

Meh.

Tessa Dare: Opinion of bodice rippers

I mean, I would be fine if there wasn’t so much of people causing their own problems by refusing to talk to each other.

Sylvia Day: Opinion of Fabio

I did not even know he was a real person till like- recently.

Roni Loren: Opinion of male romance authors

Yes please. Particularly if they are writing under female pseudonyms. With this, we are getting the exact same thing that female authors did and have to go through- a forced perspective from people oft he other gender. That can only lead to more nuance and acceptance and I am all about that.

Courtney Milan: All-time favourite romance novel & Jana Aston: Favourite contemporary romance & Judith McNaught: Favourite historical romance

Nope.

Alexa Riley: Physical or digital books?

Digital. I tend to make a lot of highlights and notes and that holds up much better with ebooks.

E.L. James: Internal drama or external drama

Characters who are not getting together/along because they can’t communicate with each other are better off not being with each other in the first place. So if that’s what internal drama is then I prefer the external type.

Sarah MacLean: Favourite heroine/s & Maya Rodale: Least favourite heroine/s & Penny Reid: Favourite hero/s & Megan Hart: Least favourite hero/s & Stephenie Meyer: Favourite and least favourite couple/s

I have types rather than specific examples. Most of it has already been detailed out in the tropes questions.

Beverly Jenkins: First romance novel you ever read

Almost Heaven, by Judith McNaught.

Sabrina Jeffries: How long have you been reading romance novels?

14 years or thereabouts.

Loretta Chase: Last romance novel you read

A Duke in Disguise by Cat Sebastian. I’m currently reading An Unconditional Freedom (Alyussa Cole) and Earthrise (MCA Hogarth).

Christina Lauren: Do you need to start a series from the beginning, or can you just dive in anywhere?

Anywhere is fine.

Chuck Tingle: How strong does your HEA have to be?

Not much. See the HFN answer.

Julia Quinn: Underrated author/s & Mary Balogh: Most overrated author/s & Violet Winspear: Most overrated book/s & Sara Craven: Most underrated book/s & Susan Elizabeth Phillips: Best romance by a debut author? & Madison Faye: Favourite romance by a non-romance author

Error Report: Cannot Compute, not enough data.

Nora Roberts: Least favourite hero and heroine archetypes

Eloisa James: What are you reading when you’re not reading romance?

Fantasy, Science Fiction, YA, Comics, Mysteries, Fanfiction, Nonfiction. I’ll read anything.

Teresa Medeiros: Other media property you wish was a romance novel

Idk what this means?

Laura Lee Guhrke: Last romance novel you DNFed

I think it was Elizabeth Kingston’s A Fallen Lady? Which was actually a GOOD book and I skipped ahead to scenes I really wanted to see and those scenes made me cry but also... there was not much about the romance itself that I was really interested in. I loved the heroine to death though.

Cat Sebastian: Alpha, Gamma, or Beta heroes?

Depends on how they are written, but I confess an Alpha is so easily made into an irredeemable dipshit.

Jeannie Lin: Ideal hero and heroine archetypes

Family-minded hero stressed out about taking care of his family. Independent, business minded heroine.

Helen Hoang: Sexually experienced or inexperienced heroines? & Lucy Monroe: Sexually experienced or inexperienced heroes?

Experienced heroines and inexperienced heroes. Play against the type!

Lorraine Heath: When you choose a book do you look for tropes, plots or authors?

Authors, then Tropes. I barely pay attention to plots.

C.D. Reiss: Puns in titles: 👍 or 👎?

YES. I have picked up books purely because of punny titles.

Emily Bronte: Favourite cover designs/illustrations & Maya Banks: Least favourite cover design

I suck a remembering covers so this question is going to get skipped~

Penny Jordan: What would you like to see more of in romance novels?

Diversity and cliche subversions.

Lauren Blakey: What would you like to see less of in romance novels?

Overplayed cliches played in the same way again and again. Relationships based entirely on sex.

Betty Neels: What do you think are the high and low points of the genre?

Highs: Romancelandia is probably the most intelligent and nuanced fandom I have ever been a part of and I have been a part of many fandoms. The genre is very, very diverse and there are so many experiments going on in the fringes. Questions and stories about the emotional components of relationships can never get old because there are too many permutations to explore in a few lifetimes.

Lows: The core of the romance novel industry is still trying desperately to hold on to tropes and themes of older days, many of which are regressive.

Jill Shalvis: Finish this sentence: “Romance novels are__________”

complex social commentaries.

#ask meme #romance novels

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antagonistchan · 3 years

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i started playing Mass Effect: Andromeda yesterday.

i got a download code for it for christmas like two years ago and just finally redeemed it.

now, for years, i’ve been saying this: “i know that people don’t like Andromeda- it’s very hard to avoid that- but i’ve done my best to avoid looking further into why people don’t like Andromeda because i want to form an opinion for myself. lots of people don’t like Mass Effect 3 either and i fucking adore that game. based on the fact that most people don’t like Andromeda and consider it a total joke but i do see that it has its fans in the Mass Effect tag, i expect that it’s gonna be bad, but i’m gonna like it anyways, though not as much as i like the trilogy.”

and i was absolutely right. so far at least.

it’s definitely not the worst. i mean, unless the question is “the worst Mass Effect game”, in which case, yeah, it is the worst. but that’s not saying much considering the other three are collectively my favorite game of all time.

so, Mass Effect: Andromeda is an extremely flawed game. but it’s not completely worthless like some people say (though i can totally understand why someone would dismiss it as worthless).

it’s pretty ugly (it’s got good lighting, but the animations and textures and human models all look really.... off. and the original version of ME1 was also pretty ugly, but in a charmingly primitive 2007 kinda way; Andromeda’s ugliness lacks that charm, especially since the aforementioned good lighting makes it fail to feel particularly primitive). speaking of the animations, aside from them looking off, a lot of them are extremely stiff and borderline unfinished.

the Angarans as a species are also pretty ugly imo, but 1: that’s extremely subjective, i’ve definitely seen people who are thirsty for Angarans, and 2: that’s also not necessarily a complaint. Angarans just Look Like That. who says these aliens need to conform to our ideals of prettiness. and they’ve got cool stuff going on. Jaal’s neat.

i do like the Remnant. they kinda give off that same precursor vibe as Prothean/Reaper tech without feeling like exactly the same thing again, and it’s pretty interesting that they only disappeared within the last few hundred years rather than 50,000 years ago. and there’s a lot more left of them. they’re somewhat derivative of the Forerunners from Halo, but not too extremely.

now, the aliens i do have an issue with are the Kett. they are so extremely derivative. not only are they derivative of things outside of Mass Effect (i know next to nothing about Warframe and even i can tell that they’re visually a total ripoff of Warframe, and also to an extent Halo), but they’re derivative of things Mass Effect already had, too (gee, an evil race that creates its soldiers by corrupting members of other races? no, that’s not like the Reapers at all).

the game’s writing is mostly fine. nothing’s struck me nearly as hard as anything in the trilogy had this far in (for any of the three games), but the story hasn’t offended me too badly and there’s been stuff i’ve liked. Alec Ryder’s a cool dead mentor character and i did emotionally resonate with him sacrificing himself to save my character’s life, Andromeda manages to bring back a lot of the hard sci-fi elements that ME2 and ME3 both scaled back on from ME1, and i really like the whole disaster scenario that Andromeda inherently presents, and how it makes space feel really big and dangerous in ways the trilogy liked to hint at but never fully explore.

not sure how i feel about the combat yet. largely because of the game’s pacing, and there’s a complaint. the trilogy was pretty good at keeping you on your toes, balancing the combat/exploration gameplay with the downtime gameplay. Andromeda... doesn’t really. it’ll spend way too long on the combat/exploration stuff so i’ll easily start getting bored with it, and then it’ll spend way too long on the downtime stuff so i’ll easily start begging to actually try out the new combat/exploration stuff i’m getting during the downtime, and on top of this, it also means i’m having a really hard time adjusting to the combat. i’m not really having that much fun with the combat yet, but i feel like there’s a very good chance it’s because i just haven’t gotten the hang of it yet (especially coming right off the tail of another playthrough of the original trilogy, a series of games i replay literally every year and have since 2013 so i know them like the back of my hand). the idea of Profiles is interesting, at least.

the Tempest is a cool ship. i had it introduced to me as “a shitty version of the Normandy” and that’s not really fair. yeah, the Normandy’s cooler, but the Tempest is cool too. honestly, i found myself comparing it more to the Normandy SR-1 than the SR-2. It has a much more similar vibe (i mean, hell, you don’t need to go through any loading screens to see the entire ship, and it’s not all centralized around a single elevator). the windows are really really silly from an in-universe perspective but i can forgive that, especially since it’s finally fulfilling the promise that i mistakenly thought some vague blurry ME1 art made years ago- a central ops chamber with a full window view of the top part of the ship. and it’s pretty. Ryder’s bedroom is a lot nicer than Shepard’s, it’s a bedroom that’s much more my speed. i also think it’s funny that they had to rename the Tempest gun so the names didn’t conflict.

and then there’s the characters, and.... i mostly like them.

i’m a little mixed on Cora. she seems a little passive-aggressive. Drack is just store brand Wrex, but that’s not really a bad thing. i mean, could you live up to Urdnot Wrex? no, you couldn’t. so Drack doesn’t offend me, i like him. Tann absolutely sucks but he’s clearly supposed to suck.

but then you’ve got the characters who are on two opposite ends of the spectrum of likability: Vetra and Peebee.

holy shit Peebee sucks and i don’t want anything to do with her. she was one of those things i wasn’t able to avoid hearing about and yeah she sucks just as much as everyone said she does.

Vetra, meanwhile? i adore Vetra so much. i love her. the moment i met her, i just HAD to look her up on the wiki to see if i could romance her, and i was so elated when i saw she was an available bi romance.

and for that matter, i was soon pretty happy to discover the game’s selection of romances: three exclusively straight romances (Cora, Liam, Avela), two exclusively gay romances (Gil and Suvi), and five bi romances (Jaal, Vetra, the witch, Keri, and someone i haven’t met yet named Reyes). that’s a pretty solid mix! especially when the two straight romances are two humans and an Angaran, the two gay romances are both human, and the bi romances are two Asari, a female Turian, a human, and another Angaran. i think i’d adjust it slightly by making one of the straight romances bi, but aside from that, that’s... kinda perfect! this feels really well thought-out, like they tried to make the mix perfect (hell, making one of the Angarans exclusively straight but another one bi feels like they were trying to provide a serious cultural clue for them- namely, that sexual identity is a concept they have)! it’d also be perfect if everyone was bi, but perfect in a different way (pro: you don’t have to worry about sexuality at all, con: it’s kinda boring).

anyways, back to Vetra. it’s a little early to say, since i’ve barely even explored her romance, but........ while probably not my favorite romance (it’d take a lot to dethrone that current champion, Traynor, let alone the other high scorers Garrus and Tali), she’s probably pretty high up there. sassy Turian lady who plays dirty to get things done? hell, i love the Garrus romance so much despite being a lesbian, so i’m absolutely all for my character romancing a Turian with a dark side, and now we get someone other than Garrus to fill that role, and a lady at that! ME1 and ME2 didn’t have any female Turians and ME3 didn’t have nearly enough, and then ME:A just has so many. the same goes for female Salarians, too, actually, but it’s more understandable in-universe for Salarians considering how Salarian gender works. anyways, there’s more that i love about Vetra besides “she’s Garrus 2 but a girl now”, a lot more actually, but that core idea is really enough to get you on board with her, really.

(speaking of Garrus though, he was also the focal point of one of the game’s stupidest moments: at some point Ryder says “An impatient rookie, frustrated with procedure? That's overdone.” which like..... that’s clearly supposed to be making fun of Garrus?? who’s like, the literal most popular character in the franchise???? i’m sorry??? what??? it’s like they’re trying to piss the fandom off intentionally, and “creators intentionally trying to piss their fandom off” generally don’t earn much respect from me unless they’re indie, and even then it’s a tough sell)

but that Garrus thing is cancelled out by another cool thing: the Nexus. the core idea of the Nexus seems to be “the Andromeda Initiative decided to build their own Citadel”, and that’s really fucking cool. it’s interesting to see the challenges of getting something like the Citadel actually up and running, and the Nexus itself is pretty interesting, especially in comparing and contrasting between it and the Citadel. also it has a room dedicated to teaching any local species about the various Milky Way races, and it’s all technically accurate but also a little overly generous in how positive some things are (“Turian culture is proof that peace will always win out!” “Humans may be diverse, but we choose to celebrate that diversity rather than let it divide us!”). and also i love that they actually let you listen to the info about humans as if you weren’t a human yourself because one of my favorite things about ME worldbuilding is how much it feels like humanity is just another one of the races that exists in this world, and humanity are really only the “protagonists” of the story because Shepard/Ryder is human.

#antagonist originals #mass effect #also not actually done with the Yukina Shepard playthrough that's still ongoing #but i'm also letting Kaguya Ryder have a spotlight

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