#and other people have written better analysis than i could ever do

[monocycle-of-fresh-cut-grass]

Something that you have to make peace with while watching BH is that the party is full of not great people they are selfish and self serving to a dangerous degree, yes they will kill and die for the rest of the hells, and maybe their families, but that's it, they do not really care for other people outside of their group, they have VOICED this, and that's fine it's fun and different but also, man really standing behind these characters and rooting for their goals instead of consequences is.... Difficult

First of all, i know comparing an improv show to a scripted one, with a horrible producer on Nickelodeon isn't really a comparison, but when Quinton Reviews was talking about Victorious, he pointed that a main cast, of genuinely horrible people, in which you are told by the text l, to root for them to achieve their goals and dreams, it's not really something that, you do?? Without making some mental gymnastics to rationalize why it's ok to do or not do something.

I guess if there were character arcs where the characters learn to care about their insular group and it's goals it can be compelling

But C3 fail to do that, you are shown a group of people hell bent on a single idea, and are not presented with characters that challenge that, and the ones that do challenge it are met with a dismissive attitude both in (imogen and FCG) and out of the text (general fandom) to the point that you genuinely have to make mental gymnastics to justify them holding their position or say, this is actually about an anti colonialist movement and revolution, even though, when you think about it, a few people deciding that the general population can or cannot worship is uhhhh... Moving on (momento sudaca)

[coffeebanana]

Every time I read classic books I feel this pressure to enjoy them, and I just...never do? I can appreciate why they're important or influential for their time, and I appreciate that they exist, but...I just don't enjoy the style? Like they tend to be very repetitive and they have a lot of scenes that frankly...don't do anything to move the story forwards. The kinds of things that today would get the story tossed aside by publishers. And obviously I'm not saying it is bad writing, because again--different time period. Different style. But I wish I could be completely comfortable saying I just don't enjoy those books. For me personally, reading them is often more effort than what I get out of them. And sometimes I will read them anyways because I want to understand references people make to them in other books or media, but at the end of the day they don't bring me joy like modern books or fanfiction do and I think that's okay.

[tourettesdog]

Beta Reading and Fanfiction

I’ve been writing for a long time myself, but it’s only been very recently that I’ve immersed myself in communities online for it. I’ve been having so much fun really diving into Danny Phantom and DPxDC fanfic, and I’ve met so many great friends doing so.

I mostly do my own writing, but I’ve really enjoyed doing some beta reading as well, especially for friends! There’s something so fun about getting to dive into a work in progress and help where you can.

But I do feel like some people might really struggle to understand how to beta read, or what makes a good beta reader— especially where fanfiction is concerned. I’ve been extremely fortunate to have wonderful beta readers, but I’ve had some friends frustrated with the beta reading they’ve in turn received, or otherwise feeling uncomfortable in asking for a beta reader since they don’t know what to expect.

So, how should beta reading work? How do you do a good job?

Above all, the most important thing about beta reading is communication with your author. You are not in their WIP to prove how good of a writer you are, or to hammer their work into what you would personally be proud to present online. You are there to help, in whatever way the author has asked or communicated they're comfortable with.

Before you beta read anything it is vital to ask what the author is looking for in a beta reader. There are a number of things you can ask in particular, including:

What are you looking for help with?

Do you just want me to look for typos or confusing sentences?

Do you want suggestions for things to add?

Do you want suggestions on grammar, or other more in-depth writing suggestions?

Do you need help with characterization, or even the plot?

Depending on who you are beta reading for, you might have someone who only wants a very light beta touch. They might just want you to look for glaring mistakes, or for confirmation that a plot beat makes sense. 

Other authors might want something much more involved! They might be trying to improve their grammar, or perhaps they're not very familiar with writing a new character and they would like suggestions for how to better capture their voice.

Regardless of what an author wants in a beta reader, you won't know unless you ask them! It's possible that you simply might not be compatible as beta reader and author, depending on their answer, and there's nothing wrong with that. It's okay to step back and say "I personally like to beta read things more in depth than this, so I might not be the best person to give it a look."

Otherwise, getting an answer about your author's preferences can help you figure out how to help them. Perhaps you would normally make more suggestions, but if an author has specified that they're not comfortable with that, then it's not your job as their beta reader to do so. If you are capable of sticking to the help they've asked for, then you will ultimately be fulfilling your role as their beta reader admirably.

"But I'm just trying to help. Their work has a lot of places it could improve!"

Again, beta reading is not about shaping a story into something you would personally present as your writing. It is about helping the author produce a story they're comfortable with and proud of.

It's not about being right, or heavily criticizing their writing and grammar abilities (unless this is what the author has explicitly requested!)

Especially while writing fanfiction, the work presented is not something that will ever see publishing, or that needs to have flawless grammar and syntax. This is work done for free, and it is done for fun.

And that's something very vital to beta reading—

A beta reader needs to preserve the fun.

It's very daunting, putting your work out there for others. It's especially daunting putting your work up for analysis of any kind. You're accepting that people might not understand your vision, or may judge you for what you've written.

It's all too easy to compare yourself to other creatives online, and to overthink and overanalyze your talents. Too often, it’s easy to get discouraged and feel like your work isn’t good enough.

Beta reading should never be done in a way that will discourage writing. Even if an author has asked for a lot of help, it’s important to pick your battles with what you choose to analyze, and to check in with them if you feel like you might be crossing boundaries or covering their work in too much metaphorical red ink.

When people are trying to improve their writing, you don’t always have to mark every little suggestion you think of. Unless the author is a friend you know well, or has explicitly asked for Extreme measures of help, it might be best to ignore some smaller writing issues and focus instead on bigger things. 

If you’ve already marked a lot of issues in one paragraph, but have more things you could say, consider if the additional suggestions are vital or if it might be better to leave them be. After all, if your author is looking to improve, and if you are planning to beta read for them again in the future, then helping them with more glaring issues now will help them in a way that is not overwhelming, and will open the door for other kinds of suggestions to be better understood and absorbed. 

You can always check in with your author if you’re unsure, too. Ask them if they appreciate the amount of suggestions you’ve given them, or if it’s been too much. Your author might be uncomfortable with telling you that they’re overwhelmed, and checking in is a good way to ensure that you’re both on the same page.

All that being said, though, it is also important to not always focus on things to fix and improve. You’re not just editing the story, you’re reading it. Part of keeping beta reading fun is engaging in that story as any reader would. It both helps morale, and helps let the author know what they’re doing right, when you take the time to tell them what you enjoy about the work you’re beta reading!

There are so many ways you can express positive things about an author’s writing. Consider:

“I love how you phrased this sentence here.”

“This body language feels natural and very in character!”

“I love this word choice here.”

“This part was really funny and had me laughing.”

“I’m excited to see where this goes!”

You’re reading a story, and you must have thoughts and feelings on it outside of suggestions. Let your author know! People thrive on positive feedback, and there’s just as much to be gained in marking Positive attributes to a story as there is in noting places to improve.

The last major thing I feel is vital to beta reading is respecting that it is your author’s work, and that your suggestions (however clever or helpful you feel they are) may be rejected. And that that is okay. 

Suggestions are just that— suggestions.

What you might like in creative writing might not necessarily be what your author wants to express. You might love to use ellipses, or lots of different dialogue tags, while your author might prefer dashes and more standard dialogue tags. You might like to use more colorful descriptions of scenery and atmosphere, while your author might want to focus much more on the character body language and dialogue. You might like to use a lot of exclamation points and next to no italics, while your author might like a lot of italics and very little exclamation points. 

You’re ultimately two different people, with two different ideas of what is an ideal way to tell a story. And while you can give many different suggestions on just about anything the author might add, remove, or change, it’s ultimately the author’s choice whether or not they accept those changes.

It’s not your job as a beta reader to double down and insist that they accept a specific suggestion. It’s not your job to make a case for why you think they need to change something. If an author has denied a suggestion— it’s best to let it go. Especially if you don’t know them well, and don’t have a very good rapport with them, pushing the issue will only serve to make you both uncomfortable.

It’s not just about picking your battles, but also about mutual respect. You’re not a teacher, nor an editor looking to make their work prime for publishing. You have to respect their decisions for their own story, even if that means they decide not to take a suggestion you felt would be impactful. 

It’s also always important to keep in mind that writing style, particularly where creative writing is concerned, can vary wildly. The strict rules that you learn in school were made to be broken. You learn them to figure out how to break them and, particularly when writing for fun, it doesn’t even matter if you’re breaking those rules in a perfect way. It’s fanfiction. It’s freeform, it’s fun. If someone wants to make a habit out of going buckwild with their writing style, there’s really no reason to try and corral their writing into a box labeled “High School English 101”. 

You can’t force someone to write their fanfiction like it’s going to go to a letter grade, nor should you try to unless they’re looking for that level of editing. 

Be willing to listen, and pay attention to what is and isn’t working. It’s good to take note of suggestions that your author has already commented on. Have they thanked you for pointing out something in particular? Have they expressed they feel weak with something in their writing?

Is there a type of suggestion that you keep making that they have rejected multiple times?

Work with their strengths and with their style. Focus on suggestions that have been received well, and consider letting go of ones that the author clearly has no interest in, or that might conflict with their style.

Communicate and respect each other, above all else.

Beta reading is such a helpful and wonderful thing someone can do for an author. I’ve been so thankful to have it done for my own work, and I try my best to be helpful and considerate when I’ve beta read myself. 

Having my work beta read has really helped me find things to improve upon in my writing, and has helped me feel more confident in the stories I’ve posted, just having another eye look over them before they hit the internet. I don’t always take all of their suggestions, and might disagree from time to time with the direction they want something to go in, but I’ve been thankful to have understanding, kind betas that work with me well. 

And that’s one more point I want to touch on too, is that I hope that, as a beta reader, you find yourself with authors that show you mutual respect in turn. That they thank you for the work you’ve put in to help them succeed, and have made the experience positive for you as well.

It always makes me happy to see beta readers credited on posted works. It’s a kind thing for writers to show appreciation, and to acknowledge that someone helped shape the words you see on the page. 

This got much longer than I intended it to, but I just hope that this post might help some people in some way. Either to understand beta reading and the purpose of it, or how to potentially go about it themselves. 

I really recommend giving beta reading a try if you’re comfortable with it, especially if you have friends that write fanfiction! Even just an extra pair of eyes looking for typos can be a godsend for someone who has spent hours upon hours staring at a long fic and editing it.

[heavysighing-dreamyeyes]

Instinct 

Beast World!AU- If you know nothing about Beast World, that is okay! This is essentially Werewolf!Jason Todd. I don't think I've written something like this before, so if it's bad, it was still fun to try and write. Honestly, this is kinda practice for when October rolls around because I have ideas. ~1.3k words

Jason Todd knows he should be in this cage. He's not quite himself, claws where there should be fingers and fangs where there used to be teeth. He's faster, stronger, larger. His senses are sharper. His body tends to react on instinct before he really knows what he's doing. 

So, yes, being behind six inches of polycarbonate ballistic glass in the Batcave is probably a good idea. 

If he could still speak, he'd tell you how good it is to see you everyday. Something about seeing you work around the Batcave on a cure, seeing you sit outside his cage and talk to him, is calming. He misses being able to answer you, misses being able to touch you, but it's still nice to hear your voice. 

It keeps him from pacing along the walls or scratching at what's left of the bedding. 

He's watching you now, head resting on his hands- uh, paws, now- as you push food for him through the small opening in his cell. 

He is hungry. He always seems to be hungry. There's an itch under his skin for something more, to be back in the streets of Gotham with blood on his muzzle. You always seem to make that feeling go away. He tracks you as you smile at him and turn to leave. He just needs to have you in his vision. There's no explanation other than this situation is better when you're here, when you're focused on him. 

He knows your smell, your scent, even through the glass separating him from the outside world, he knows. Jason has trouble, sometimes, remembering how he knows you. Whatever's made him sick, made him this thing, messes with his thoughts. But even his base instincts know you're special, something to be kept close. 

It doesn't really matter what you are to each other, he knows enough. How could he ever forget the feeling of you in his arms? Every memory of you is ingrained in every cell of his body; he just knows. Knows how you look when you laugh, how your tears feel against the pads of his thumbs. 

So even if the details come and go, you're a constant. The only reason he's even putting up with this cage. 

His ears perk up when Dick comes into view. He lets out a huff at the wave Dick gives him, and turns his focus back to you.

Jason doesn't really listen to what you're talking about, processing words isn't as easy as it used to be, but he lifts his head when Dick leads you down to the training mats.

The fur on the back of his neck raises when you start throwing punches at each other. 'Training. It's just training,' he tells himself. But all rational thought flies out the window when you hit the ground. He slams into the glass. Slams into it again as it cracks. Rams his body into the glass a third time as it finally breaks and splinters around him. 

You're worried about Jason. Everyone is. Gotham is in chaos, filled with humans turned animals from a disease no one’s figured out how to cure yet. It makes your stomach twist, to see him locked in a cage, unable to voice what he wants or how he's feeling. You spend more time than not in the Batcave now, talking to him, playing music while you work on trying to cure him.

You know Jason's still in there. You can tell in the way he tilts his head at you, barks out laughs at the stories you tell. But you also know he's not all there. 

Sometimes his eyes seem to glow, his gaze will change into something feral as he stalks back and forth. He growls when people get too close to the glass, digs his claws into the fabric littered throughout his cage. 

"You need a break," You look up as Dick's voice cuts into your thoughts.

"I know, but I'm close to something. I can feel it," You tell him, eyes darting to the computer running your latest analysis. 

Dick glances over at the screen, "Looks like you still have some time on that. Why not spar with me? Get some energy out?"

You think on it, then nod, "Yeah, sure."

Dick grins like it's the best thing he heard all day as he leads you down to the training area, "Better not go easy on me." 

You laugh, putting your hands up in a practiced fighting stance, "As long as you don't go easy on me."

Sparring with Dick does actually turn out to be the break you needed. It's almost relaxing to let yourself go on autopilot, dodging his punches and throwing your own in return. 

It happens before you realize, that he's hooked his ankle behind your knee. You hit the mat and exhale sharply, making a face at Dick as he grins down at you. He opens his mouth, probably to throw out some remark about having your head in the game, when the sound of glass shattering makes you whip your head towards Jason's cage. 

Two-hundred plus pounds of fur and sharpened canines are charging at you.

"Shit," Dick says your name, steps in front of you, but it doesn't do any good when Jason snarls and shoves him to the side. 

You barely have time to get a noise out before he's barreled into you, crushing you to his chest and turning to face Dick with a growl.

You sputter out a mouth full of fur, squirming to try and move back. Jason only crouches lower to the ground and holds you tighter. 

"Jason, hey, they're not hurt, okay? We were just sparring. No one's in danger." You hear Dick trying to soothe Jason, but you're more distracted by the rumbling of his chest against your face. 

You push lightly at him, "Jason, it's okay."

He falls quiet. 

Jason knows you're not hurt. Knows Dick wouldn't actually put you in danger. But that didn't stop him from breaking out of his cell. (He really could have done that at any time, but how else would he see you?) 

He carefully lets go of you, but keeps his body angled between you and Dick. It's not his fault his brain is screaming that you're in danger. That he should killkillkill anything that threatens you. You're not fragile by any means, but you're so precious. He should be protecting you, not separated from your side by glass. 

"Jason," your voice interrupts his thoughts, and he angles his head to look at you. You're sitting down and patting your lap. He tilts his head. "Come here, it's okay."

You sound relaxed, even if your heart rate is elevated, and he finds himself wanting to listen. He drops to the ground, keeping Dick in his line of sight as he rests his head against your legs. 

He notes your hesitation before you start petting his head and scratching his ears. He leans happily into your touch. This is what he was missing. He pushes his head against your stomach, wanting you to keep going. Jason doesn't miss the look you give Dick, or the helpless shrug he offers back. 

It's not like anyone can stop him from being where he wants. He won't let anyone get close enough to sedate him. And he certainly won't go back in a cage now he knows how nice your hand is against his fur. 

No, he'll stay by your side until whatever cure you're working on is done. It'll be nice, he thinks as he cuddles into your side, for both of you. He'll be able to keep you warm, keep you safe. And if there isn't a cure? You'll never have to worry about any of the infected. He won't let anyone near you. 

[atopvisenyashill]

that bit about joffrey is FASCINATING have you ever written about this in depth? I've always loved his character but I would never be able to like. Describe why exactly he is the way he is so I really appreciate your analysis of him loving BOTH parents and incorporating only their flaws - I always just assumed that he hates his dad and is annoyed by cersei (still loves her) but then the way we sexually humiliates and abuses sansa etc is so robert-coded like of course he emulates the bevavior of his father.

Also slightly off topic but i always forget that Joffrey is like canonically so good at all the proper princely things (thinking of that scene at Sansa and Tyrion's wedding when she's so upset that a monster like Joff could be so good at dancing) and - not to go on about GOT again - but I wish we had actually gotten to see that and him being charming etc. Huge props to the show for giving Joff the perfect wardrobe (the only thing they did right) but also f them for waiting all that potential

yes, they really said joff gets to have all the swag and then the moment he died they put cersei in that fuck ass bob and no one in the lannisters was allowed to serve again smh. and thank youuu i actually had to stop myself from rambling over him before haha, but i'll go into more detail here! so this was the comment from the other post-

joffrey is a kid just ruled by his first, most base instinct. his instincts, his core emotions, tell him to love and trust both robert and cersei, and imo he twists himself into a MONSTER to try to appeal to both of them. no one else matters - not his siblings, not his uncle, not his grandfather, not the realm. he needs to be the sort of vicious person they could both be proud of, he needs to be better than them both at violence, so he absorbs all of their faults and none of their virtues.

i definitely do see very often that people feel he only loves one or the other parent and while I do understand that reading, I don't think it's quite how Joffrey operates. I think he does love them both, and holds them both in high esteem. I do agree that he's annoyed by Cersei but that doesn't mean he doesn't value her opinion (as much as Joffrey puts value on anyone else's opinion, I mean).

Joffrey and Cersei

Joffrey relies on his mother more than almost any other male character we see in the series. We see him call for Cersei basically every time he's hurt, in trouble, or wanting to whine about something. Not only that, but you have everyone from Robert to Renly to Tywin himself saying that Joffrey is doted upon and inseparable from his mother. A few choice quotes:

"Fear is better than love, Mother says." Joffrey pointed at Sansa. "She fears me."

He takes Cersei's lessons to heart, however flawed they are. Her opinion matters to him, he wants her to see him as strong.

Nine cases out of ten seemed to bore him; those he allowed his council to handle, squirming restlessly while Lord Baelish, Grand Maester Pycelle, or Queen Cersei resolved the matter. When he did choose to make a ruling, though, not even his queen mother could sway him.

It's Cersei he listens to the most. We know that if a little King, even with his mother as Regent, doesn't want to deal with her, he can simply ignore her - that's what Jaehaerys does with Alyssa, after all. But Joffrey doesn't do this; he'll fight with her, he'll insult her, and he's not shy about doing it in public but he never disregards her out of hand.

Joffrey lurched to his feet. "I'm king! Kill him! Kill him now! I command it." He chopped down with his hand, a furious, angry gesture . . . and screeched in pain when his arm brushed against one of the sharp metal fangs that surrounded him. The bright crimson samite of his sleeve turned a darker shade of red as his blood soaked through it. "Mother!" he wailed.

His instinct, every time, is to turn to her for help. He loves her. He adores her. She's the only person around who tells him he's strong and smart and will be a good king. He leans on her for guidance, for comfort, he talks to her about fucking whores. He shares everything with her because he doesn't have a single friend. She models anger and violence for him constantly, she excuses his disturbing proclivities, so he molds himself to be the person she wants him to be, the king she wants him to be. People - including Tyrion and Tywin! - are always wondering why Cersei is blind to his cruelty, but the reality is she knew he was cruel and loved him for it.

Tommen did as he was bid. His meekness troubled her. A king had to be strong. Joffrey would have argued. He was never easy to cow.

For Cersei, cruelty is strength and in her eyes, Joffrey is as strong as they come. This isn't by accident; just like his constant cries for her are reinforced by her rushing to coddle him, his cruelty is reinforced by a mother who sees it as strength. It's almost like what Coldhands says to Bran - Joffrey is a monster, yes, but in Cersei's eyes, Joffrey is her monster.

Joffrey and Robert

Joffrey had never had a close friend of his own age, that she recalled. The poor boy was always alone. I had Jaime when I was a child . . . and Melara, until she fell into the well. Joff had been fond of the Hound, to be sure, but that was not friendship. He was looking for the father he never found in Robert.

From Cersei's point of view, I think she knows very well that Joffrey is searching for love, acceptance, and himself in Robert. She doesn't like it, but she seems to accept that it's natural for Joffrey to search for some sort of father figure, and doesn't seem to begrudge him that - imo, I think because she knows Robert is always going to reject Joffrey for his cruelty.

“Why would he [care]? Robert ignored him. He would have beat him if I’d allowed it. That brute you made me marry once hit the boy so hard he knocked out two of his baby teeth, over some mischief with a cat. I told him I’d kill him in his sleep if he ever did it again, and he never did, but sometimes he would say things…”

Whenever they interact, the few times they do, there's violence. People always take this as Cersei not allowing Robert to "teach" or "properly discipline" Joffrey but, well...does the above seem like helpful discipline? Knocking out your child because he freaked you out? Punishing extreme violence with more extreme violence? And it's not just Cersei that this moment sticks with, because Stannis brings it up as well-

"Joffrey . . . I remember once, this kitchen cat . . . the cooks were wont to feed her scraps and fish heads. One told the boy that she had kittens in her belly, thinking he might want one. Joffrey opened up the poor thing with a dagger to see if it were true. When he found the kittens, he brought them to show to his father. Robert hit the boy so hard I thought he'd killed him."

Since Cersei says Robert would "say things" and we see him threatening Cersei (the "or I'll honor you again" line), I don't think it's a stretch to say that Robert threatened to beat Joffrey nearly to death several times over.

And yet...Joffrey compliments his father, especially in comparison to his other relatives.

He wrenched free of her. "Why should I? Everyone knows it's true. My father won all the battles. He killed Prince Rhaegar and took the crown, while your father was hiding under Casterly Rock." The boy gave his grandfather a defiant look. "A strong king acts boldly, he doesn't just talk."

And Cersei believes this came from Robert-

"Father, I am sorry," Cersei said, when the door was shut. "Joff has always been willful, I did warn you . . ." "There is a long league's worth of difference between willful and stupid. 'A strong king acts boldly?' Who told him that?" "Not me, I promise you," said Cersei. "Most like it was something he heard Robert say . . ."

And of course, Jaime is the one who pieces together why Joffrey sent the catspaw-

“Yes, I hoped the boy would die. So did you. Even Robert thought that would have been for the best. ‘We kill our horses when they break a leg, and our dogs when they go blind, but we are too weak to give the same mercy to crippled children’ he told me. He was blind himself at the time, from drink.” Robert? Jaime had guarded the king long enough to know that Robert Baratheon said things in his cups that he would have denied angrily the next day. “Were you alone when Robert said this?” “You don’t think he said it to Ned Stark, I hope? Of course we were alone. Us and the children.” Cersei removed her hairnet and draped it over a bedpost, then shook out her golden curls. “Perhaps Myrcella sent this man with the dagger, do you think so?” It was meant as mockery, but she’d cut right to the heart of it, Jaime saw at once. “Not Myrcella. Joffrey.” Cersei frowned. “Joffrey had no love for Robb Stark, but the younger boy was nothing to him. He was only a child himself .” “A child hungry for a pat on the head from that sot you let him believe was his father.”

When you put it all together, you have a child who is ignored by his father unless he's being threatened with a beating, who is constantly calling him a monster, who watches his father harm and humiliate his mother day in and day out, who has no other paternal figure around but this violent, angry man who he is supposed to model himself off of, and a mother who encourages his cruelty because she believes it's the only way to protect herself, to protect her son. He's not just emulating his mother's cruelty, he's emulating Robert's violence specifically when he humilates Sansa at court, when he openly talks shit about Cersei - it's what he's seen modeled for him as kingly behavior!

The Abuse And Jaime Of It All

King Joffrey's face hardened. "My mother tells me that it isn't fitting that a king should strike his wife. Ser Meryn."

He knows Robert is abusing Cersei and he takes her dislike of it seriously even as he doesn't make the connection that she means he shouldn't be striking his wife period. Whether it's because Cersei directly told him (which could make sense; she's purposefully hiding it from Jaime but perhaps she confided in Joffrey) or because he witnessed it himself, he's aware of the abuse enough that he takes his mother's comments about not personally striking Sansa to heart.

"No," [Robert] thundered in a voice that drowned out all other speech. Sansa was shocked to see the king on his feet, red of face, reeling. He had a goblet of wine in one hand, and he was drunk as a man could be. "You do not tell me what to do, woman," he screamed at Queen Cersei. "I am king here, do you understand? I rule here, and if I say that I will fight tomorrow, I will fight!" Everyone was staring. Sansa saw Ser Barristan, and the king's brother Renly, and the short man who had talked to her so oddly and touched her hair, but no one made a move to interfere. The queen's face was a mask, so bloodless that it might have been sculpted from snow. She rose from the table, gathered her skirts around her, and stormed off in silence, servants trailing behind. Jaime Lannister put a hand on the king's shoulder, but the king shoved him away hard. Lannister stumbled and fell. The king guffawed. "The great knight. I can still knock you in the dirt. Remember that, Kingslayer." He slapped his chest with the jeweled goblet, splashing wine all over his satin tunic. "Give me my hammer and not a man in the realm can stand before me!" Jaime Lannister rose and brushed himself off. "As you say, Your Grace." His voice was stiff. Lord Renly came forward, smiling. "You've spilled your wine, Robert. Let me bring you a fresh goblet." Sansa started as Joffrey laid his hand on her arm. "It grows late," the prince said. He had a queer look on his face, as if he were not seeing her at all. "Do you need an escort back to the castle?"

I think it's pretty clear that Joffrey is dissociating here which also explains his very detached way of looking at Robert's abuse of Cersei. It freaks him out enough that he uses Sansa as an excuse to leave (giving her the Hound, then running off himself) but he doesn't show it. He's not even particularly upset during this scene, not throwing a tantrum or making whiny remarks like he does when he's usually upset. He only has a "queer look" - the stress of trying to reconcile his adoration of Robert and his love of Cersei just makes him fully shut down instead of confronting it.

Joffrey gave a petulant shrug. "Your brother defeated my uncle Jaime. My mother says it was treachery and deceit. She wept when she heard. Women are all weak, even her, though she pretends she isn't. She says we need to stay in King's Landing in case my other uncles attack, but I don't care. After my name day feast, I'm going to raise a host and kill your brother myself. That's what I'll give you, Lady Sansa. Your brother's head."

I think people often take his comments about how women are weak to mean he doesn't view his mother as a competent advisor. But you notice a pattern here - he gets shitty with her when it's about Jaime specifically.

"A great many people are sorry for that," Tyrion replied, "and before I am done, some may be a deal sorrier . . . yet I thank you for the sentiment. Joffrey, where might I find your mother?" "She's with my council," the king answered. "Your brother Jaime keeps losing battles."

"She's with my council" he says, because he sees no reason to not let Cersei run things without him, something Robert never lets her do. But "your brother Jaime" not "my uncle Jaime" which is a shift because he doesn't stop calling Renly or Stannis his uncles even after they rebel. He knows, he suspects, and what he resents is not Cersei fucking Jaime but Jaime fucking Cersei.

My read on this is that Joffrey sees his mother as weak for allowing herself to be seduced by Jaime, and sees Jaime as a lecherous seducer who is the cause of all his problems. If only Jaime hadn't seduced his mother, maybe his parents wouldn't hate each other. His claim wouldn't be under question. His mother should have just taken the abuse and bided her time instead of putting herself in danger and having bastards.

He loves his mother. He loves his father. And that's the human heart in conflict with itself that resides in Joffrey. Does he honor his mother, the only parent he has, or does he honor Robert, the patriarch he is supposed to emulate? If he has no other example of what strength looks like, is he even capable of figuring out a different path for himself?

[kittyit]

This is a long and loaded ask so feel free to delete but it's completely earnest

I've been a radfem for about 3-4 years now (radfemhagen but I got termed) and honestly I still struggle w genuine dysphoria. All the reading, critical thinking, talking w detrans women is definitely eye opening and helped me but it hasn't healed me of my ~gender feels~ if you know what I mean. I remember trying to get tips from other blogs but all I remember was something about doing physical labor with other women or just being around other women but that isn't helping either, I'm so disgusted by my female body and how I'm seen (especially by men and especially as a lesbian) and it's just getting worse. I've been thinking about going on a low dose of T even but I know there's other options to coping, like there HAS to be SOMETHING. I can't just will it out anymore.

Help a gyn out

this and it's probably better saved for an essay but i felt moved to respond to you straight up. i'm going to explain three really important parts of my journey to a place where i almost never experience the intense and life-disrupting distress around my sex (diagnosed as dysphoria) except in times of extreme stress, and even then it's fleeting.

one essential thing i did was stop thinking of transition as an option for myself. this is something i see a lot of detrans/desisted women struggle with. i think this is a mental trap. "if i don't feel better in x amount of time or when i do x, i'll transition" removes the urgency and necessary nature of working through the distress around your sex. i've written in a few pieces about when my girlfriend max asked me to not do it 3 days before my first t shot, it genuinely felt like the last light in a dark harbor going out. i felt utterly hopeless. i felt like my last solution had been taken from me and i would never feel better.

i came to my decision to never pursue transitional medicine first through listening from my girlfriend and other detrans women. to take seriously the pain & trauma detrans women go through. to listen when they said this did not help me, this was not help, it did not fix these feelings of distress. to listen to detrans women is to understand that transitional medicine is an unethical practice being done by unethical practitioners. it's also to understand that this solution is not what it's presented as. taking these women's experiences and analysis seriously meant ruling it out as a coping mechanism for myself, ever. but there are so many reasons to make the decision not to participate in transition medicine - political & practical. not giving money to surgeons who traffic in literal female flesh. not wanting to risk all of the under-studied, ignored negative long-term health effects. not wanting to signal to the women around you that there is no way to survive as a woman like you without transitional medicine. defiance of new patriarchal expectations for women like you. defiance of the pressures that tell you that this is the thing that will make you feel better - like makeup, like labiaplasty, like breast implants, like an elective double mastectomy. defiance in general.

so the first thing was to stop thinking of transitioning as an option. i said no. the second thing was to stop thinking of my distress as dysphoria. to un-diagnose myself with this word that means i need to take T and get a mastectomy and undergo phalloplasty to have a chance of ever being happy. you mention disgust for your body, you mention disgust for how you're seen by men and as a lesbian. disgust for yourself on these points is anger at patriarchy, lesbian-hating society & men turned inward on yourself instead of the people who deserve it. it's an impulse of someone dealing with oppression to blame one's self for it and think there are things we can do to escape it. it's no different than a woman trapped in domestic violence obsessing over what she could have done differently to not set him off this time - the right dinner, place setting, clothing & tone. the idea that woman- and lesbian-hating can be escaped as easily as transitional medicine claims it can is simply not true. the experiece of a woman who passes as a man is another exerperience of womanhood, still under the bell jar of misogyny.

what helped me with these feelings of distress was pinpointing exactly where they came from and what they meant. i know this isn't helpful for everyone. but it's almost like going deeper and deeper on the feeling make it more and more clear what needed to be addressed. here's one spiral to the center: i want to chop off my tits → why? → i hate my breasts → why? → they feel ugly and disgusting → why? → i got them so young, they're so large and people stare → why does that bother you? → i feel so ugly and out of place → why does that bother you? → i feel so alone and worthless → how do you feel? → i feel lonely → what do you need? → i need connection.

"i want to chop off my tits" is not a coherent feeling - every human alive has complex reasons for the things they say, think and do. if you can get to the bottom of where these sensations and feelings and disturbances diangosed as dysphoria are coming from, you can figure out how to address them. what is the feeling at the bottom, what is going unaddressed? and quite honestly a lot of the time it's not an easy answer. sometimes the answers are super hard to grapple with. sometimes the need cannot be fulfilled or are very difficult to fulfill. but once you've decided that transition is not on the table, the quest to find those answers becomes a lot more essential.

this isn't something anyone is really meant to do alone. when i hear you say you hate being seen as a lesbian and how men treat you, i hear an inherent isolation in that. i could be wrong, i know a lot of people can still feel lonely when they have a strong support system, but i would say the majority of women do not have the kind of friend group and number of connections they need to be socially supported. so another big part of this is breaking out of isolation and being around other women who "get it" - whether virutally or in real life. humans are a pack animal and this is an isolating age.

so that's my three parter to your question

1. say no to transitional medicine

2. undiagnose yourself with dysphoria and instead figure out why you're feeling what you're feeling

3. seek out friendship, community, and ways of thought that can help you address those feelings

[leikeliscomet]

“But We Love Martha Jones!” - The Doctor Who Fandom’s Selective Memory of Racism

Be aware that this article contains explicit examples of anti-black racism and misogynoir.

Chapter 2 - Utopia-ish

The constant nitpicking of Martha Jones for reasons white female companions could get away with was blatant anti-black racism. Let’s get that bit clear first and foremost. As a Black person in fandom, watching Black characters get torn apart while never being given the grace of their non-Black castmates is an experience that’s too common. Microaggressions are more subtle so the easiest way to shut down any mentions of racism is to accuse Black fans of making things up or telling us “Well it’s not like REAL racism”. Luckily Doctor Who Tumblr birthed the Martha Jones affirmative action and Aunt Jemima “memes” so I can cross both covert and overt racism off the list. As mentioned in extensive detail in the previous chapter, plus the various Martha Jones articles written before me, the treatment Martha experienced was racist. I don’t care if you personally didn’t like her. I don’t care that you missed Rose. I don’t care that Ten is your smol bean. Martha’s treatment was racist. Freema Agyeman’s treatment was racist. It might not have been everyone. It might not have been you personally. But it was there. The fandom can never be a safe space for POC, specifically Black people if this elephant in the room can’t be addressed over a decade after it arrived.

On paper, you’d assume Martha’s rep was good because “at least she wasn’t a Black stereotype”. Some fans praised her for having a present father, not speaking MLE and not being from the ends. This goes into respectability politics but the fandom’s weirdness about Black Brits and class is not the point of this article. The point is the revisionist history of how Martha was really treated and to do that it helps to know what Black tropes are. The Mammy trope is a Black woman whose main purpose is to serve her white counterparts and during slavery, she mainly cared for the slave owners' children. She is usually fat, dark skin and asexual, not as a representation of those things but as a statement of how if she isn’t used for sexual exploitation like the Jezebel (the promiscuous, reckless, sexualised Black woman), she has no sexual value at all. Her value is serving the needs of others only. Martha doesn’t fit this trope in theory but in practice, she fulfils the sub-categories of this trope both in show and fandom: the disposable Black (girl)friend trope. She is used as Ten’s emotional punching bag before he’s ready for Donna and then Rose again. She had to endure edgy moody S3 Ten so no one else had to. She’s the excuse people use to deflect any critical analysis of how race was handled in RTD1. She’s the fandom’s excuse to deflect from their own racial biases. Racism? No way! Everybody loves Martha Jones! What do you mean?

Some parts of the fandom have tried to mend things by suggesting Martha be paired with other doctors or romantically shipping her with other characters a bit better than Mickey Smith. But does this hold up? As much as I’m a big fan NineMartha as a concept and as someone who honestly saw one-off characters like Riley Vashtee from 42 or Tallulah from Daleks in Manhattan having way more romantic chemistry with Martha than Mickey ever did, simply re-shipping Martha isn’t enough. Doctor Who’s racism isn't exclusive to one doctor, one series or one era and new Martha pairings suggest the issue was “right person, wrong doctor” instead of what the issue actually was: racism. Moffat and Chibnall’s eras weren’t full of golden Black representation either so I doubt the Martha issue would’ve magically disappeared under those two. From Nine’s hostility to Mickey, to Twelve’s hostility to Danny Pink to Thirteen handing a South Asian Spymaster to the Nazis and Eleven only travelling with POC in comics most fans haven’t heard of and being besties with Churchill, simply putting Martha with another Doctor isn’t the serve fans think it is. Even RoseMartha seems like putting a bandaid on a bullet hole. If it's not enough for Martha to be compared to Rose, put down in favour of Rose, told she isn’t Rose and told she's worse than Rose in fandom and in show over and over and over, she has to be shipped with Rose too. Martha’s a great character… as long as you can tie her to Rose… again. Even in my own article I have to talk about Rose because Rose is centred in what was supposed to be Martha’s story. A doctor-to-be Black girl from London with a hectic family meets a Time Lord and gets abducted by space rhino police at work in one day. Her main conflict isn’t balancing work and time traveller life, or fighting to get her family back together, or seeing what’s out there in the universe - it's that she isn’t “Rose” enough. The Mammy and her sons’ main thing in common is simple; how well they serve and centre the white characters. In attempts to mend Martha’s treatment she is still only valued in relation to white characters. She should’ve been with Eleven because he would’ve fucked a Black woman. Or maybe Dilfy Twelve. Or a sapphic romance with another female companion who she saw twice or doesn’t actually know. Or maybe Ten in an alternate universe where he supports #nubianqueens. None of this is done to explore sexuality or romance with Black women and is definitely not to centre Black lesbianism and bisexuality. It’s Mammy with a dash of Jezebel. It's adding romantic and sexual value on top of physical and emotional value like a crappy meal deal.

I’m tired of Black women being treated as extensions of white women both in media and in real life. I’m tired of our value being determined by how well we serve white people emotionally, physically, platonically and sexually. And I'm even more tired of white feminism especially in this fandom. It would be so easy to label this article as anti-Rose, anti-Ten or anti-Tenrose to invalidate my whole racial analysis because it's the easy way out. I’ll admit I like both characters individually but not the ship but this isn’t something I decided on since birth - it's my conclusion as a Black fan in a predominantly white fandom, watching a predominantly white show, watching the first companion of my race be told she isn’t good enough compared to the white characters, and that the hatred of her is justified for the greater good of its popular white ship. Black fans can never have this conversation without being told we’re “pitting women against each other” and that Martha and Rose hugged once in S4 so everything's hunky dory. Martha’s happy that Ten found Rose again so what’s the problem? It sends a clear message that Black women’s pain will never matter a much as white women’s feelings. “Rose is amazing! Martha’s amazing! Stop pitting women against women!” but who was pit against who in the first place? These faux girl power posts fail to acknowledge the overlap of race and gender which separates the treatment of Black and white women. It fails to acknowledge Martha’s hate was rooted in anti-black racism. It fails to acknowledge the anti-Rose pushback was in response to how the show and fandom convinced us Rose was the untouchable bar this Black woman failed to meet. It fails to acknowledge Freema Agyeman the actress was targeted not just her character. It fails because the female empowerment rhetoric that leaves the Black ones at the bottom of the pile only “empowers” women of a certain demographic.

The harassment Martha experienced was swept under the rug of “stan wars” but it was so much deeper than that. I’m not saying Martha stans are angels but there was no “Great Stan War” because the sides were never even. At the end of the day no amount of “Martha’s better than Rose” tweets will ever compare to the fact that Martha hate was rooted in misogynoir. Rose was and still is considered the greatest companion of nuwho, whilst Martha is constantly erased and undervalued. Rose’s video views and hashtags have always been bigger than Martha’s. Amy and Clara came after Martha but still surpassed her in popularity and got plenty of fan edits of “The Girl Who Waited” and “The Impossible Girl” whilst Martha was conveniently skipped in the companion lineup. The fandom’s bias still shines clearly in favour of Rose over Martha. Rose’s jealousy towards other women is justifiable and just the ups and downs of a 19-year-old whilst Martha’s is entitled bitterness. Rose’s flaws are compelling character moments and depth, Martha’s are “holding her back from being a good companion”. Hell, even Donna calling out Ten’s BS was entertaining accountability whilst Martha was just the angry Black woman. Fans will weaponise Rose’s working-class roots to imply a pro-Martha bias, failing to acknowledge the working-class to poor background of the average Black Brit, the anti-blackness middle-class Black people are not spared from, the many working-class Black characters of the show like Mickey, Bill, Rigsy and Ryan or how most fans don’t consider Martha middle class because she doesn’t fit the white British cultural stereotypes. You can't be the most loved and hated at the same time. The hard truth is Billie Piper wasn’t racially abused by Martha stans but Freema was absolutely racially abused by Rose’s and the effects of this are still around. Go into Martha Jones tags today and you’ll see snarky posts of how Ten could never love another companion like Rose. Even when Freema bravely shared her experiences of literal racism, fans were quick to yell “But I wanted Ten and Rose though” as a justification for years of misogynoir. Again, we need to address the elephant in the room instead of covering our eyes and ears to act like it’s not there. A Black character and actress was collateral damage in order for a popular white ship to rise and whilst I’m not an anti, I as a Black Doctor Who fan, I’ll never be a supporter. At the end of the day, only one of these actresses is still carrying the burden of misogynoir over 10 years since RTD1 ended. A lonely walk across the Earth yet again.

<- Chapter 1 Chapter 3 ->

[hunter-sylvester]

Skullflower is Autistic: A Breakdown.

Buckle the fuck up.

Disclaimer: Don't take any of this too seriously.

Also all of this was written over a year ago with only minor edits. I'm just posting it now cause it's been rotting in my drafts and, like, fuck it.

I've wanted to try and make a comprehensive breakdown like this for a while just because I love these characters and very heavily interpret them all as autistic (with ADHD as well.) But this is just the perspective of one guy. And I probably overstate it but the fact that we can all have our own very personal interpretations about media is what's great about analysis & fandom.

Hunter Sylvester.

Yes I'm doing Hunter first, what do you think I am? Unbiased? Please.

Autistic Perfectionism. Hunter's autistic perfectionism is something I've mentioned before and somewhat struggle to describe satisfactorily. But to me the most obvious example is his inability to deal with the idea of Emily joining Skullfucker as a cellist. Obviously, there's the queer angle to this but I think two reasons can play a role at once. He's in love with Kevin so he doesn't want a girl that Kevin picked to be a part of their band. Additionally, I'd argue that he can't deal with the idea of having a girl cellist as their bass player because it in NO WAY fits the mental image that Hunter has in his mind of what he wanted Skullfucker to be. It doesn't match the perfect idea that he's dreamed of, that he holds onto for dear life, so he can't deal with it.

Hyperfixations. "Hunter's been into a lot of things since I've known him but he's stuck with metal longer than any of them." - Kevin. Need I say more? Well, I will anyway. The guy hyperfixates. I think the closest thing we have to a canon confirmed hyperfixation is Dungeons & Dragons. Because of what in my mind is a combination of Autism and ADHD in Hunter, they don't fully leave him. He still likes and plays D&D, but he's not as obsessed with it as he used to be when he made his dad buy him the most ridiculous game terrain that fucking lights up.

Special Interests. I think one of the easiest claims to make is that metal is a special interest for Hunter. He entrenches his entire life in it and reaches for it when a stressful situation happens to try and make himself feel more okay. (getting his hair cut off by Skip and relating his new look to Jason Newsted) It's clearly something that comforts him, having been obsessed with it ever since his mom left. Which, regardless of the specific circumstances, is a horridly stressful situation for any 12-13 year old.

Struggles with social interaction. He doesn't seem to have a lot of friends. He gets along with Robbie, Kevin (obviously) and the people he plays D&D with but that seems to be it. Especially whenever the situation gets very stressful, Hunter's mind immediately reaches for his comfort interest to try and make it through (or to lash out). He can't easily just be comfortable in a strange social situation. Or a strange situation in general.

Stims. Hunter stims by playing guitar. That's it, that's the whole point. And there's this little move:

Kevin Schlieb.

Neutrality. The way Kevin just takes Hunter and Emily as they are feels autistic to me.

Struggles with social interaction. And he clearly wants it to be easier for him. He wants to connect to people but he doesn't know how. It's not like he doesn't understand people. He does. He understands Hunter better than Hunter understands himself. "sometimes he's not so nice to people when he's uncomfortable" "You are afraid of everybody" "you treat everybody like shit and you make them hate you" But that understanding of how people think and work doesn't translate to his direct interactions with most of his peers. Maybe because he understands other neurodivergent people but not neurotypicals. The fact he does have a decent read on, at the very least, his best friend could also be indicative of the extra work Kevin has had to put in over the course of his life to try and understand people to begin with.

Directness. A lot of Kevin does feel direct to me. I suppose in a 'what you see is what you get' sort of way. He obviously has the whole protagonist thing going on which tends to end you up with pretty neutral, earnest and open characters.

Stims:

Emily Spector.

Gets overstimulated. Emily's outbursts could be attributed more to a struggle regulating her emotions. It's not a huge stretch to assume her mystery medication is a mood stabilizer. However, the idea of it being a combination of being overstimulated and then no longer being able to deal with her anger on top of the distress she's already feeling feels apt to me. This is a stretch, but, we only ever see her have outbursts at school. A nightmare environment for the stimuli sensitive. Emily is by far the character out of the main three we spend the least time with, which could easily explain my previous point away. We hardly see her out of school to begin with. But I think there can be merit in taking it as a part of the story, rather than an incidental effect of her being left by the wayside.

Black and white thinking. "So first you tell me that I should hate him, and now you want me to help him?" - Emily. No, he didn't say you should hate him, Emily. "You have every right to be mad- especially at Hunter!" - Kevin.

Directness. I mean she literally calls up Kevin to ask him if he wants to go fuck in a parking lot and more power to her. But it is very direct.

Struggles with social interaction. And apart from Skip & Co. having a particular hate-boner for Hunter, Emily might actually be the most widely ostracized for her lack of social finesse. Which would check out because society is brutally cruel to girls. Kevin is shown to have some positive interaction outside of the other two main characters, so is Hunter. And, yes, so is Emily. But it's only with the janitor of the school, who she is implied to have had previous interactions with. Having your only friend at school be the fucking janitor is not a neurotypical experience. I know I certainly got along easier with a handful of teachers than I did with my peers back when I was at school.

Whatever this is. Fam, I've BEEN there...but it's not neurotypical:

A 'little' note to end on: I want to state that I love all three of these character very dearly. I don't pretend that I don't have a favorite, but they are all amazing. There's various reasons why Metal Lords is such a comforting movie, but a big one, is that the characters act in a way that feels incredibly familiar. They act like me. They act like my autistic friends. We make weird facial expressions, we understand the world and each other through our interests. The way all of them talk feels so close to home. (The swearing is actually part of that. A lot of real people swear and over-censoring of that tends to bug me but that's kinda beside the point lmao)

[bloedewir]

Dragon Age: The Veilguard

There's some post-game thoughts I can mark as spoiler ones. Read only if you finished the game.

I love the game. Really. The grand finale was magnificent, the main plot idea is painfully touching and I adore the heavy weight of sorrow I bear after I finished the game. The best kind of bittersweet grief of possible.

However it doesn't mean the game is flawless. There's some stuff I didn't get at all.

Why there's no option to ask Solas about the Forgotten Ones? Like, hello, you have an encyclopedia of elven lore in your head, can't you ask a few optional questions about weird ancient guy you've met during the journey? Nadas Dirthalen? (Or it's because da5 is going to be about new dwarven and/or qunari lore and Forgotten Ones/Executors?)

You also can't say anything about the murals.. which is kinda strange. Why didn't Rook comment those mind-blowing revelations? For Harding, at least?

Evanuris. Solas' story is beautifully written, Mythal' story was also revealed more than before (even if she's in all 4 games) so we get to know her better. But Elgar'nan and Ghilan'nain? Fine, forget other evanuris.. but the spectacular duo? Spirits and demons are kinda the same, like two sides of a coin. Solas is Wisdom and Pride, Mythal is Benevolence and Retribution (as Morrigan said). Elgar'nan and Ghilan'nain are just.. bad? They're blighted and corrupted now but what about the past? Where's the duality of their personalities? No chance for redemption now because they don't want or need it, I get the idea, but the story itself? I wish there would be more about them. We do have something on Ghilan'nain tho, like: she created hallas but can't create them any longer and she has a full control over the Blight as if it's modeling clay (+ some Bellara' thoughts on a matter of "navigation" and "healing" and path Ghilan'nain chose for the People). But Elgar'nan? He likes tyranny. And he still had his hair. Uhm.. ┐⁠(⁠ ⁠∵⁠ ⁠)⁠┌

Romances. Can't say much because I didn't try all of them but Neve's and Lucanis'.. uhm. It doesn't feel like a written romance, y'know? Just a bonus lines so you doesn't have to feel lonely or whatever. Characters are on their own and don't have connection with Rook till the very end. There's no impact and Rook is, ironically, just an enjoyable side benefit™ but nothing more. Comparing to datv romance situation solavellan romance is hot as hell and full of content. And it says a lot.

Inquisitor. I do like how their absence was explained... yet Lavellan was robbed. I don't want to see a cringe Fade therapy session with Solas telling his tragic lovestory to a random stranger (Rook) and whining about just how much he misses his gorgeous wife (and I'm solavellan). But adding a few tiny details? The bare minimum: take the dai tarot card and place it on the wall in a music room. That already could've been much better. (mods mods mods 🤞🤞🤞).

Dialogue timing and triggers. I suspect dialogues are cool but I can't know for sure. In my first playthrough I didn't even know Davrin and Lucanis are not a big fans of each other before the Weisshaupt quest because I didn't hear it. DATV locations are much smaller than it was in DAI, so you just don't get the chance to hear those dialogues unless you find a trigger point and just stay there waiting to play all lines.

Some of that is not a tragedy and, theoretically, could be improved by magnificent people creating mods. But sometimes datv seems kinda unfinished like there's a missing puzzle pieces as if content was cut out with no replacement.

Despite some questionable moments and a bit of criticism I love this game regardless. It's dark and atmospheric, absolutely beautiful and mesmerizing. And analysis of Regret? Choices and consequences, acceptance, struggling, desperation, guilt..? The work Bioware did deserves to be highly appreciated. The final left me in tears, sobbing and grieving, and heartbroken - that's all I ever wanted of Dragon Age 💜

[prettyinpwn]

How Gravity Falls Could Have Been Better + Poor Ford and Wendy (GF Writing Analysis Pt. 2)

GF Writing Analysis Series: Pt. 1 - Ford Pines: A Masterclass in Writing a Good Flawed Character Praise the Axolotl, I feel horrible just writing that title. But let me preface this post with three statements:

I've been in this fandom since the first episode aired. I participated in this fandom while it was airing, and I will always cherish this fandom, those memories, and Gravity Falls itself even when I'm a crusty old lady in a rocking chair someday.

Gravity Falls is still my favorite show of all time, even as someone now nearing thirty years old. Nothing's ever topped it since in my mind, and I don't think anything ever will for me.

Writing and making a show is hard. It's easy for me to sit here and smash my little lady hands on a keyboard and criticize the Gravity Falls writing team's decisions. I'm sure if I'd been on that team, I'd have done a lot worse under that burnout and pressure, and I doubt I'll ever write anything anywhere near that critically acclaimed or beloved.

But... every time I've watched Gravity Falls from beginning to end, I've always felt that there was something off. And in recent rewatches, after I'd studied creative writing in college as a part of my minor, plus just having studied and done a lot of writing in my free time for years... I found out finally what it was:

The flaw, in my opinion, is the pacing. Gravity Falls is - and I mean this in the most respectful way to the writers, and I'm saying this as someone who will praise this show to my grave - poorly paced overall.

So what do I mean by that? Each contained episode is tightly written and nearly flawless in the pacing, but the overarching plot? I'll describe it like this: Picture a rollercoaster starting on a very, very slow incline. The scenery on the way up is gorgeous and entertaining to look at, but damn, you want to get to that peak that was teased in the advertisement of the ride. That first tease is what keeps you going on the slow incline. You know you're going to get there, but...

Okay, we're focused on getting accustomed to the seat, the people around us, how this rollercoaster feels, but... you check your watch. Are we there yet? What about that peak that was advertised? No, it's still a glacial incline. You inch upwards. It's godawful slow. You wait - and for those of us who watched when it aired during the hiatuses (which were more Disney's fault than the core team's, to my understanding) - it takes months to years.

Jesus Christ, you think. What about that tease? I want to know what's at that peak! Yes, I get tension and slow buildup, but this is taking FOREVER, and there have been no glimpses of the peak for eons. And then... suddenly, it gets more intriguing. There's a little bump. And another. And finally... there's another hint of the peak that you saw teased all the way back in the Stone Age.

Now, the ride consistently offers you little fun hills after that long, slow first incline. But seconds later BOOM! You skyrocket to that peak so fast your facial skin is flapping behind you. WOO! This is a blast! But holy hell, this is going a little fast compared to what it was like before. The last third of this ride must be MINDBLOWING, with lots of loops and spins and turns and even greater thrills, right?

And then the ride just drops almost face first to a plateau again. There are no more bumps, really. No loops. No twists. Just an almost straight, logical line back to Earth. Half the ride was pretty and made you laugh a lot despite how long it took, but the other half of the ride went so fast in comparison that it was just a blur. You're at the finish line now. Yes, it concluded like it was supposed to, but... is that it?

Rollercoaster metaphor over with, that's the pacing of Gravity Falls. For a more detailed visual example:

(Note - each episode is listed by their overall number. For example, 1 is Tourist Trapped, the peak at 31 is Not What He Seems, and the finale Weirdmageddon episodes are 38-40. Also, this is a rough, subjective view of the pacing tension, but generally... episodes that hinted or contributed to the overarching plot and tension earned higher points, and ones that added almost nothing besides comedy and character development that didn't necessarily add to the overarching plot were lower. The Weirdmageddon episodes are at a plateau since they - as finale episodes - serve to create as much tension as they do resolving it.)

Now, there are no hard and fast rules in writing, and every writer plots differently, but generally, this is the kind of pacing tension that's considered "good" (and that most common outlining techniques follow, just in different forms):

(Credit - please check out this page for a full explanation of each act.)

Generally, the trend is slow buildup. There's no plateau for eons, BOOM, then faceplant, like Gravity Falls. So that gets us to my main thesis of this post, building on what I bolded before:

Gravity Falls was too short because it's a three act story squished into a two act structure; the first season is paced like they were expecting three seasons - a season for each story act - and the second season is paced like they had to quickly fit the last two acts into one.

Why do I say this? Because there's a common writing plot point called the Midpoint / Plot Twist. So for those unfamiliar with writing techniques, let's explore what a Midpoint is:

"The Midpoint occurs at the 50% mark, halfway through the Second Act and (obviously) halfway through the book itself. Although many writers neglect the Midpoint in comparison to more noted moments such as the First Plot Point or Climax, the Midpoint is arguably the most significant beat within the story. It is what director Sam Peckinpah called the “centerpiece” of the entire story. Everything hangs upon it. In many ways, it is the moment that decides the ultimate fate of the story." "The Midpoint will feature at least one, possibly more, momentous revelations. Within the primary character arc and thematic exploration, the protagonist will encounter a Moment of Truth that forever changes his or her view of the story’s central philosophy. This revelation, perhaps in partnership with a further external revelation about the nature of the conflict itself, will forever evolve how the protagonist approaches the conflict—on both a personal and practical level. It signals a thematic shift from Lie to Truth (or vice versa) and an external shift from ineffective “reaction” to increasingly effective “action.” (Credit).

"But PrettyinPwn!", I hear you protest. "Gideon Rises is the episode smack dab halfway through the story and seasons! And that has a big reveal. And we learn a truth about Stan."

Yes, my sweet friends. Gideon Rises - and the reveal of what Stan's hiding in the basement - is a revelation, but the way the first season is paced, in my opinion it's what writers refer to as the First Act climax or Break Into Two. The Break Into Two is:

"Main character makes a choice and to go on the journey, and our adventure begins. We leave the “Thesis” world and enter the upside-down “Anti-thesis” world of Act Two."

(Credit).

Traditionally, this Break Into Two is literally stepping into a new world. Harry Potter getting to Hogwarts. Katniss Everdeen getting to the Capitol. Yadda yadda. But in Gravity Falls, it's more subtle:

We go from the "ordinary" world of Gravity Falls in Season 1 / Act 1 (which is anything but ordinary, but you get the point) where things are bizarre but lighthearted, to the "new" world of Gravity Falls in Season 2A / Act 2 where things are bizarre and definitely not lighthearted anymore. We've started to see the dark underbelly of this strange place and family, the seriousness ramps up, and... lo and behold... a B STORY pops up right at this point in full force, just like B Stories typically do right during or after the Break Into Two point. And that B Story? Is Stan's work on the portal and his search to find Ford, which was teased in the hook, all the way back at Tourist Trapped.

So no, Gideon Rises is not the real story Midpoint. The real story Midpoint is this nerd:

Let's look at those two plotline graphs again; Gravity Falls' and the typical one you see with three act structures:

Yes. Ford's reveal / Not What He Seems should have been smack dab near halfway through the series. But it's not. It marks the 75% point instead. Technically, if we follow the idea that the Midpoint should be roughly around 50% through the story, Not What He Seems should have taken place near where Gideon Rises is in the episode roster, and Gideon Rises should have been halfway through Season 1 (roughly near Fight Fighters).

So what caused this? Oh boy, I'm getting into speculation territory, and I know Hirsch has said it was meant to be this way, but based on the pacing flaws, here's my theory:

Hirsch and team wrote Gravity Falls Season 1 assuming there'd be three seasons; a season for each act of the story. They burned out, so compacted it down to two seasons, and fit all of Act 2 and 3 of the story into Season 2. That's why, at the time the episodes aired, Season 2 was referred to in two halves: Season 2A and Season 2B. Translation? Season 2A is Act 2 and what was supposed to be Season 2 but condensed, Season 2B is Act 3 of the story and what was supposed to be Season 3 but condensed.

TL;DR: In Gravity Falls, Act 1 = 50% of the story, Act 2 = 25% of the story, Act 3 = 25% of the story. AKA poor pacing. The equivalent in, say, Harry Potter and the Sorcerer's Stone, would be if Harry spent 50% of the story at the Dursley's before getting to Hogwarts.

If Gravity Falls had had three seasons total, the slow buildup in Season 1 would be totally justified, as the first act of most stories takes its time to establish the characters and world. But we instead go from slow plateau to BOOM to faceplant, instead of a slow ride up to the top that consistently raises tension with a few peaks here and there, then a fun, bumpy ride of resolving the tension on the way down.

That's why Season 1 has a little hint of the overarching plot in Tourist Trapped with the Stan vending machine tease at the end of the episode - that's known in writer's circles as the "hook" or promise of the premise - and then literally almost nothing until the end.

I will reiterate: Season 1 is written like the writers thought they had enough time to pace Act 2 and 3 out over the same amount of episodes for each Act.

All this, combined with the fact that Season 2 has some very out of place episodes concerning the tension (*cough* Roadside Attraction *cough*, and no, I don't care that it was retconned later to have made sense), well... yeah.

But this didn't just affect the pacing. It also affected the characters' writing. Wendy barely got developed, Stan and Ford's backstory AKA the B plot got squished into two episodes, the government agents as an antagonist were "defeated" too soon to try to quick switch over to Bill Cipher for Season 2B / Act 3, and the most oof-worthy part? Ford got the short end of the writing stick.

I mentioned in another post that I think Ford is a fantastically written character as a concept, but unlike Stan, Dipper, and Mabel, his good writing relies more on subtext, rushed plotlines, and external materials (Journal 3, mainly). Thematically, as the show focuses on twins, parallelisms, juxtapositions, Ford should have had just as much "let's get to know this character!" focus and time to develop to the viewer as Stan did. But no, he got... what, roughly 4-5 episodes, some of them where his story was only the B plot? Literally, let's count:

Episodes with Stan plotlines: Tourist Trapped, Legend of the Gobblewonker, Headhunters, The Hand That Rocks the Mabel, The Inconveniencing, Dipper vs. Manliness, Irrational Treasure, Boss Mabel, Bottomless Pit, Land Before Swine, Dreamscaperers, Gideon Rises, Scaryoke, Soos and the Real Girl, Little Gift Shop of Horrors, The Love God, Not What He Seems, A Tale of Two Stans, DD&MD, The Stanchurian Candidate, Roadside Attraction, Weirdmageddon 1+3.

Episodes with Ford plotlines: A Tale of Two Stans, DD&MD, The Last Mabelcorn, Dipper and Mabel vs The Future, Weirdmageddon 1+3.

Ford feels like an afterthought. Dipper, Mabel, and Stan get 100% of the story to develop, and Ford gets less than 25%. Also factor in how Ford is the peak the viewer is waiting for, the whole mystery that keeps viewers on their toes for most of the story... and he gets ~5 episodes, and none of those are 100% focused on him.

It's like hosting a multiple course meal promising the main course - the steak - is gonna blow your mind. And then you get it 75% of the way through the meal and it's like... dime sized. It's a damn good little nerd steak, but it's so small, and we ate like three hundred Dipper and Wendy crush and Mabel crush and really well written and funny but effectively filler episode salads on the way here, including ones that weren't even canon (Bottomless Pit and Little Gift Shop of Horrors), interspersed with the occasional hint of steak with episodes like Dreamscaperers. Which would have been fine had there been an equal and increasing amount of steak, but no. To ask an age old question... WHERE'S THE BEEF?

A summary of Ford:

Worse yet, let's compare his introduction to Stan's introduction.

Stan (in Tourist Trapped): "Heya, I'm a grumpy old conman runnin' a tourist trap, and all I care about is money, but... hey, you kids want something from the Gift Shop?"

Ford (in A Tale of Two Stans): "Greetings, I just returned from sci-fi sideburn land, I'm just going to punch a character - my brother - beloved by the audience in the face after he did something very nice for me, tell my long backstory that kind of makes me look like a douche in multiple ways, plot convenience the antagonist away, then tell said beloved by the audience character / brother to get off my lawn."

No wonder why - after ATOTS aired - lots of people thought Ford was a Class A, prime US Grade, grass fed dick. And to this day, more people seem to love Stan over Ford in the fandom. We get context for his decisions later in... drumroll please... Journal 3. And subtext. Not even an episode.

We THEN understand that Ford punched Stan because of the thirty years of hell he went through, that he was just about to defeat Bill Cipher when Stan activated the portal therefore interrupting him, and Ford was upset that the Shack had made a mockery of his paranormal studies plus Stan had literally stolen his identity, completely turned his house around, and made him look like a conman... so we then have an 'OH!' moment and realize, "Hey, wait a minute, this guy has reasons for what he did. Maybe he was more justified than we thought, or at least as justified as Stan was.".

But not in the show. In a book released after. He is actually equally as well-written as Stan is, in concept. He's a great protagonist with realistic flaws and reasons. But he got a sad little salad in the writing department compared to Stan, Mabel, and Dipper's whole ten course caloric explosion buffet.

So what would have fixed this? Just like the overarching plot's pacing... another season. Season 1 + the first half of Season 2 could have been solving the mystery of Stan, and the second half of Season 2 and Season 3 could have been solving the mystery of Ford.

And that, my friends, is why Gravity Falls is too short.

~

Where does this leave us? Well, er... my next thought is... how would I have written Gravity Falls using the typical pacing progress?

Well, for starters, let's decide this: how many seasons do we want overall? The two options are...

A. Two seasons like it is now, but shorten each story Act.

B. Three seasons, each season is one Act of the story.

If Gravity Falls were just two seasons long in this hypothetical outline, this is what I'd do:

Take out the Dipper/Wendy love subplot. I'm sorry, we all knew while we were watching it that it would go nowhere. I remember watching it as a teen girl as the show aired and being so damn bored with it as a subplot. Especially because... as it stands, most of Wendy's purpose is as Dipper's crush. She never got her own episode.

Put Gideon Rises as Episode 10 instead of Fight Fighters. Make Not What He Seems as the Season 1 finale.

Take out a lot of the "filler" episodes in Season 1. I hate to say this, because I love a lot of the Season 1 episodes. But to pace it better, I'd say order the episodes in Season 1 like this: Tourist Trapped The Legend of the Gobblewonker The Hand That Rocks the Mabel The Time Traveler's Pig Little Dipper Boss Mabel Carpet Diem Land Before Swine Dreamscaperers Gideon Rises Scary-oke Into the Bunker The Golf War Soos and the Real Girl Sock Opera (Any of the "filler" episodes from Season 1 or 2 here) Blendin's Game Society of the Blind Eye Northwest Mansion Mystery Not What He Seems

And as for season 2:

A Tale of Two Stans Dungeons, Dungeons, and More Dungeons Then... Here we have a big gap, because we put many Season 2 episodes in Season 1. We squished all that plot into Season 1, so what do we fill episodes 3-17 of Season 2 with? I'll tell you what: More Wendy and more Ford. In this version of the outline, Dipper and Mabel are present characters in every episode, with a special focus on Stan and Soos to a smaller extent in Season 1. So to make it even, I'd make this version of Season 2 have a big focus on Ford and then Wendy to a smaller extent, mirroring how Stan and Soos are focused on in Season 1. And just like the antagonist of Season 1 - Gideon - with a little bit of the government agents, have this season have a few more episodes with the government agents and then Bill as the big final bad.

This gap here gives us ~14 episodes to develop these characters. I also think The Last Mabelcorn should be in here somewhere, so make that 13. If we parallel Season 1, then roughly... Bill should get two episodes as a main antagonist like Gideon did before his finale in Gideon Rises. Wendy should get two episodes as a deuteragonist like Soos did in Season 1.

The Bill episodes could hint more at his backstory like Journal 3 did, have him mess with Ford more and tease at Ford's "sing to me O Muse" backstory with him (because more Ford parallels with Odysseus are always welcome).

The Wendy episodes could delve into the same issues Soos' episodes did: Wendy Episode #1: Her dating issues, but instead of finding someone like Soos did, she's happily single at the end. I vote a plot where Wendy is ready to date again after the Robbie fiasco, Mabel tries to set her up with someone new, tied to a B plot with Ford where Mabel digs into his dating life, finds little to none, and then both Ford and Wendy realize at the end that it's okay to be single and not ashamed of it in a romance obsessed society (also Ford on the ace spectrum ftw, personal headcanon though). Better yet, have it have a kid friendly explanation that some people love differently; actually show that Wendy is Bisexual and Ford is - I'd argue - Ace (or straight or gay but just super bad at relationships because of pouring himself into his work and his other flaws, fear of sharing his baggage with others, etc). Not that Disney would have allowed LGBT+ at that time, because, well... Disney.

This would simultaneously make Wendy A. NOT just a crush figure tied to romance, as female characters often get relegated to, and B. help Ford parallel some insecurities about how he compares himself to Stan, just like Stan compares himself to Ford in the episodes that actually aired, especially if we keep The Stanchurian Candidate as one of the episodes but involve Ford more in it. Have Mabel pull a Jane Austen's Emma and learn to stop being a busybody matchmaker. This idea - in my opinion - is way cooler and less ethically ambiguous than The Love God.

Wendy Episode #2: Her family issues, AKA her dead mother. Make it real tearjerky with a B plot tie to how Stan or Ford never got to see their parents again after the portal accident and before their parents died, and parallel it with Wendy regretting something regarding her mother before she died. This would give us a chance to explore more about Wendy as a character, and both Filbrick / Caryn (AKA Stan and Ford's parents) as characters, as well. I would also lean more towards having her bond with Ford over Stan in this episode. Or, alternatively, you could tie this to Dipper and Mabel and their parents. Because you can't tell me that their parents did NOT have questions about what was going on after Mabel sent that letter home about her "two grunkles".

But why so many Ford with Wendy plots? Because Soos is already the Shack employee tied a lot to Stan, so to parallel, you could have Wendy bond more with Ford. At first glance, this seems like it'd be an odd duo, but Wendy probably could relate to Ford's experiences of feeling like the responsible one in the family, hiding how much they care about things under a more calm facade, the fact that Wendy's dad built the Shack for Ford, maybe add Wendy having an underlying interest in science or the paranormal that she deadens down to fit in that Ford finds out about and tries to encourage her to not hide anymore to tie in with his theme of "it's okay to be weird". You could do a million things with Ford and Wendy subplots.

So that leaves us with a total of nine other episodes to devote to Ford here in this season space. I mean, picture it... in my original counts of how many episodes Stan vs. Ford got in the real version of the show that aired, Stan had around 23 episodes that featured him.

In this version of the outline, Stan would get 14-15 episodes featuring him. Ford would get 14 episodes featuring him. CHEF'S KISS; EQUAL TREATMENT BY THE WRITING. But what would these episodes be about?

A. More bonding and arc between Dipper and Ford. Dipper would go from "notice me Ford senpai / hyperventilating" to "holy crap the Author is as awesome as I thought he'd be!" to "wait a minute, this guy's got some flaws" to "maybe this isn't who I want to become?" to make Dipper's rejection of the apprenticeship feel more natural and take the blame heat off of Mabel (as the fandom's been eager to place).

If Dipper's reasoning for rejecting the apprenticeship was not just "Mabel needs me" but a combination of "Mabel needs me, Stan needs Ford more than I do, Mabel was right and I don't need the Journals / the Author / Ford to be a hero, and I don't want to become Ford", it'd make a lot more sense. Because thematically, the plot of Gravity Falls resolves BECAUSE Dipper and Mabel don't become Ford and Stan; they avoid the mistakes they made, and in doing so, heal the literal and metaphorical rift. And it also makes more sense for Dipper's character arc, which was always about self-confidence.

That, and I think it'd have been great for Dipper to have had a trust - distrust - trust again arc with Ford like he did with Stan. "Oh, Ford's so cool" to "Ford lied to me about Bill!" to "Ford is flawed, but he's still the great uncle I love now". Put a Dark Night of the Soul in there, where Dipper literally 'Trusts No One!'. Not even Ford. Have him teeter on the precipice of going down Ford's dark path, but Mabel saves him from fully falling into it. And have Ford have a Dark Night of the Soul, where now even Dipper doesn't trust or like him, and so Ford feels totally outcasted by his family like Stan felt years ago.

B. Slower plot twist revelations about Ford's past with Bill Cipher. Start him out reluctant to talk about it, especially in front of Dipper, who views him as a hero that Ford so desperately wants to be. Explore some of his trauma, what his choices have cost him, etc. Hell, I'm pretty sure Ford's got some form of PTSD, so throw a plotline in there about Ford isolating a lot because of it. Of course, since kids are a primary audience of the show, you can't get too dark, but you can't tell me Ford didn't experience some messed up stuff on the other side of the portal.

C. Goddamn, take some of Ford's multiverse explorations from Journal 3 and make them actual episodes. What a wasted opportunity in the show. And it better have Jheselbraum in it, or I riot.

D. More Ford bonding with Mabel. Please, for the love of God, I know Dipper and Ford are nerdtopia buddies, but Ford and Mabel would get along so well. They're both weirdos at heart, sweater twins, the older twins, and love the odd and the artistic. Make a B plot with Stan and Dipper bonding, maybe even after Dipper's loss of respect for Ford, and have Dipper "side" with Stan while Mabel starts to "side" with Ford more, almost getting lost in Stan and Ford's rift themselves. Because goddammit, we're riding this juxtaposition and parallelism and thematic train into the Sun!

E. GIVE FORD MORE MOMENTS TO LOOK LIKE A CARING, SWEET GRUNKLE. Stan got a truckload of chances to shine and for the twins to bond with him. Can... can Ford have the same thing? Please? Here, elevator pitch: Ford being forced to put science away to watch the twins for a day because Stan's busy, he reluctantly agrees, and by the end he's just as much of a softie for them as Stan is. Or have Dipper and Mabel get in trouble, Stan and Ford have to work together to save them; have them sabotage each other, trying to look like the better Grunkle, but then pulling their heads out of their asses and working together reluctantly and realizing they actually have fun on adventures like they used to (which would foreshadow their choice to go on Stan-O-War II adventures later).

F. By God, I don't care if Gideon's already in jail by this point, plot-wise. This boy spent episodes chasing the Author's journals. I need to see the look on his face when he realizes the Author is his arch-nemeses' twin brother / great uncle. Please. Have him start a rivalry with Ford that goes as horribly as you'd expect because Ford would use 30 years of multiverse experience to punt this kid into the next dimension for multiple reasons, one of them being having summoned Bill Cipher, another being having used his journal for nefarious purposes.

G. Don't make the government agents go away so easily. Foreshadow Stan's return of memory in Weirdmageddon 3 with the agents remembering what happened before the memory gun wipe in Not What He Seems, not only to utilize them better as antagonists, but to increase the stakes, and also to make Stan's memories returning later seem more plausible. Have Ford play a part in getting rid of them as a threat.

Or have them switch from antagonists to allies once they realize Bill Cipher is the real threat, but have them fail to neutralize Bill to make him seem that much more insurmountable and the Pines' defeat of him that much more of a feat. To wrap up them as an obstacle, just have them thank the Pines at the end and then have them put forth the whole "Never Mind All That" act and keep the stories of the weirdness contained to Gravity Falls. Have them try to lock Stan and Ford up still, though, but realize that they're gone on the Stan-O-War II trip (which, if that story's ever made into a show, they could serve as continued antagonists chasing after the Stans).

H. More Pacifica. Make her redemption more believable. Give her another subplot in Season 2, maybe following the plotline she had in the Lost Legends comic side story with Dipper. In fact, give her a B plot episode storyline with Ford; have them bond over having had to be perfect golden children with a parent(s) that care way too much about money, and it gives Dipper and Mabel more context and understanding about Ford's struggles. There. It writes itself.

I. More McGucket. I want to see Ford angst more about what happened between them. Then, finally, after all these episodes with The Last Mabelcorn somewhere amongst them... Dipper and Mabel vs. The Future Weirdmageddon 1 Weirdmageddon 2 Weirdmageddon 3

And ta-da! You'd have a version of Gravity Falls with two seasons with more fair attention to Wendy and Ford, more evenly paced tension and plot twists, and an antagonist cycle that goes from town enemy to world enemy to multidimensional enemy. ~

As for a three season version of this outline, keep Season 1 completely as is, make Not What He Seems episode 10 of Season 2, and... this is a bold suggestion, but turn the Season 2 finale into Dipper and Mabel vs The Future and make the Weirdmageddon episodes into a whole season. Make the failure to stop the rift really hurt, and use the whole of Season 3 to have the Pines figure out how to stop the end of the world. Use some of it to rebuild the portal, explore some of the Multiverse to find a solution, have them try to find Jheselbraum to help discover more about Bill and his weaknesses and his previous attempts on Earth to break reality (like Modoc's story in Journal 3, in fact, have an episode where they time travel back to Modoc which would give him inspiration to have drawn the prophecy wheel on the cave wall that Ford found hundreds of years later), gather the whole gang and build the Shacktron, have it fail and have to use the prophecy wheel... But wait, it fails, too, and Bill scatters everyone involved across the Multiverse instead of making them into banners - while also destroying the portal - to buy himself some time to get Ford to give up the solution to breaking free from Gravity Falls. Explore the Multiverse more to gather everyone again, use each episode to devote yet more time to developing each character, parallel Ford's journey in the Multiverse for 30 years. Maybe even have a bit of a subplot where Ford breaks from Bill and tries to rebuild the portal to get everyone back, paralleling Stan's struggle to get him back for 30 years.

Learn more about who Ford was those thirty years he was gone. Use the Multiverse episodes to make Stan sympathize more with what Ford went through for thirty years. Have Jheselbraum reference the whole "you have the face of the one who will destroy Bill" to Stan instead of Ford like she did in the past, and have Stan be confused at first, thinking Ford will be the hero again. Dark Night of the Soul up in this season, man, and make the prophecy wheel fail again, and Stan realize yep, time to brain zap, Jheselbraum was right, but HE'S the one that has to stop Bill, not Ford. And THEN try Stan's conman trick to trap Bill in his mind.

And that's how I'd rewrite Gravity Falls as three seasons.

~

I'll say this: after all that criticism I just laid out, you might think I hate Gravity Falls as it is now. No. I love this show. It won't leave my brainspace and lives there rent-free, like Bill does in Stan's mind. And I will say, I understand 100% why it was written the way it was. They seemed to have had a plan in Season 1, switched gears between seasons, and tried to wrap up two seasons of plot in one season for Season 2.

And they did it with little to no flaws in terms of the overarching plot. They told the story they wanted to. They pulled a Stan and took some shortcuts, but had good intentions and got the job done. And the show is still like... an A- to solid A grade show even with these flaws.

But it could have been nearly flawless and A++ had they either planned for two seasons from the start, or powered through the burnout to make three whole seasons (which is easy for me to say, as someone that didn't have to live through what must have been hair graying levels of stress).

All in all, I'm curious to hear others' thoughts on my critique, or if anyone would like to add more about what they'd put in this hypothetical Season 2 or 3. Or if you'd prefer the two seasons still as they are, or as I hypothetically rewrote them, or as the three seasons idea I explained above. Or if you think I'm just crazy, and that Gravity Falls is perfect as is.

[end-otw-racism]

End OTW Racism Link Round-Up: Week 1!

We are now in week two of our action demanding that OTW live up to its commitments to address racist harassment & abuse, which ends May 31st! There was a lot of great discussion during the first week, so we wanted to post a round-up of some of the longer-form discussion/analysis that people have been sharing (we're going with posts on Tumblr, Dreamwidth, and other sites, as well as Twitter threads that are longer than three tweets). These are posts that we think would be helpful to consider as fandom engages in the necessary conversations about these issues.

If we've missed something you've written, we'll be doing another round-up of week two, so it's not too late! You can either submit it on tumblr, tweet at us, or email us at endotwracism [at] gmail [dot] com. We do reserve the right to only share posts that are in line with the intent of the campaign and that we believe are adding to the conversation.

Tumblr

beatrice-otter: Why AO3 needs to be accountable for reducing fandom racism in its internal culture and the archive [link]

pretty-weird-ideas: End OTW Racism and the “Fed” Accusations [link]

aretethegreattelleroftales: You don’t understand what EndOTWRacism is asking for here, and because you clearly do not understand it, you should have known better than to speak on it. [link]

vex-verlain: In response to the reactions I’ve seen to #EndOTWRacism [link]

unrealromance: I don’t really understand how people don’t know the difference between ‘whoops I’ve fallen into a racist trope’ and 'I am literally writing hate speech that is unveiled, mask off’. [link]

pretty-weird-ideas: Codification of a Living Document as a solution to Harassment on OTW [link]

indifferentvincent: RE: End OTW Racism Derailment [link]

elumish: In light of some of the backlash to the End OTW Racism protest, and particularly the concern that an anti-harassment policy would lead to abuse of reporting mechanisms or censorship of unpopular authors/ships… [link]

seepunkrun: How to Find and Attend OTW Board Meetings [link]

indifferentvincent: The people who use the excuse of saying ao3 is an ‘archive’ and so 'must preserve’ the most vile, intentionally racist fics just sound like the most privileged motherfuckers on the planet to me. [link]

spacebeyonce & pretty-weird-ideas: wow this is such a normal and rational thing to say about having a diversity consultant to help ao3 fix their bullshit. [link]

indifferentvincent: I have to assume this is in regards to my promotion of the end-otw-racism call to action, because I don’t know what else it could be referencing. [link]

princeescaluswords: Writing Doesn’t Happen in a Void [link]

mousieta: There is a place, a magic place, a giant, ever growing park filled with sandboxes of every color and shape imaginable. [link]

Twitter

spacebeyonceart: alright so I want to talk about this post I made two years ago now that the #EndOTWRacism ball is finally rolling. [link]

generalfrings: This shit makes me so goddamn angry, yall. [link]

eruthosish: One of the calls of #EndOTWRacism is to improve the AO3's Terms of Service and how the AO3 deals with fanworks that are part of an offsite harassment campaign, so I wanted to share a story about the only time I have ever reported offsite harassment and had Abuse agree with me. [link]

buttonthemdown: They've proven they can move quickly *when they want to*, but the fact the OTW hasn't made an official statement acknowledging their lack of action and pledging to do better sends a signal they don't care about their POC fans. [link] 

Clonehub7567 Seeing the reactionary dismissals of #EndOTWRacism from white fans who pretend to care about racism is reminding me of the backlash i/we got for #UnwhitewashTBB. [link]

hydrochaeris3: ppl who are worried that not participating in the call to action will get them labeled racist..... first of all once again yall are showing that you care more about what others might label you than putting forth tangible effort into caring for a community [link]

m_sketchyart: If you think that #EndOTWRacism is censoring your escapism, here’s a thought to chew on: why is being anti-racist a threat to your escapism? Is true escapism not also leaving racism, antiBlackness, fatphobia, abeism, misogyny, etc out of your escapism? /rh  [link]

lunedraws: Have you wanted to walk the walk and not just talk the talk, re: racism, in one or more of your fandom spaces? This is a concise and timely line of actions we can take. [link]

aliasmarionette: One thing I see a lot in #EndOTWRacism comments which are in favour of the status quo is assumptions about who we mean by fandom, and about the user base of the Archive. [link]

SapphicScholar: New profile photo while participating in the important fan-led campaign to demand that OTW make good on the promises it has already made to address issues it has already acknowledged as problems in the archive—that is, instances of extreme racist harassment and abuse [link]

Fansplaining: Since the endotwracism campaign has begun, we wanted to highlight the timeline they've put together about the OTW's communications re: hiring a diversity consultant since their initial statement of commitment in the summer of 2020. [link]

gwenpendrcgon: ive seen so much backlash over #EndOTWRacism which shouldnt surprise me (also majority of this comes from tumblr is also to be expected) but most if not all backlash received by this event is done is such bad faith and complete wilful ignorance [link]

fiercynonym: so op of the #EndOTWRacism post on reddit dm-ed me and the situation is even more fucked up than i originally knew???  [link]

kitschlet: seeing a lot of people confused about what the OTW can do to address racism [link]

generalfrings: poor AO3 maintaining a 'absurdly heavy site'. all that text! [link]

RukminiPande: Fan scholars should be paying attn to #EndOTWracism. [link]

Saathi1013: The thing to notice about all the assertions that people know who's behind EOTWR is like... Okay, there are a few things, actually [link]

buttonthemdown: If you think that victims of racism need to "develop a thicker skin" you're a fucking racist [link]

mousieta: if i could have people understand one thing abt #endotwracism right now is that This issue matters not because racism makes you feel bad, or uncomfy, or squicky but because racism is actively harming Real Living Breathing Fans right now. [link]

fiercynonym: okay so…you know how OTW has been saying, when asked at meetings, that they have a budget surplus of about USD $1 million? well…manogirl & i did some digging, and it might actually be more than TWO AND A HALF MILLION USD. [link]

runpunkrun: Speaking of OTW Board meetings, if you're interested in attending, here's what you need to know [link] 

Dreamwidth

satsuma: A Chronic Habit of Avoiding Responsibility? #EndOTWRacism [link]

bcgphoenix: I have a lot of feelings about OTW and End OTW Racism as a book conservator/general preservation person, most of which verge into tl;dr territory. [link]

killabeez: Looking at past archive policies [link]

nyctanthes: End OTW Racism (Fannish Fifty #47) [link]

chestnut_pod: Be more democratic, be more autocratic, OTW [link]

Other sites

Lady’s Weblog: End Racism in the OTW [link]

The Rec Center: #384 Final Thoughts [link]

Stitch’s Media Mix: I’m Supporting #EndOTWRacism [link]

[rikomoriyama01]

🗣️ (also sorry this got long, turns out i have thoughts) so like riko is one of the weirdest fandom cases i've ever seen. i've been in fandoms where characters who commit actual war crimes and genocide are badass babes or uwu soft bois, and even spoiled mafia brats who commit terrible crimes against the heroes for daddy's attention that get love and redemption. it's so weird to see just how isolated from all that riko is to me.

i do think it's partly how aftg is written, and that's also partly because niel's pov is not at all forgiving of riko, while is entirely forgiving of people like andrew. but i also think it's because of how riko himself is written. he's one of these characters that's better on paper than he is in the book to me. because he's never presented as smart enough to fall into the magnificent bastard trope where everyone applauds how devious his plans are, but he's not outright hammy enough to just be a fun read, he doesn't even get the same stupidly dramatic flare as andrew. and while we're told he's powerful and doing dangerous stuff, he's presented on page, more often than not, as a petulant child that neil is just done with or a guy who likes to torture people who neil is also done with. neil is never actually scared of riko, or even particularly threatened by him, and i think that hurts him and makes his position in the narrative weaker. especially when nora is trying to play him as a villain and a threat in a mafia story rather than a good old fashioned rival in a sports drama. for example, his first impression on the kathy show should live up to the hype of this imposing charismatic villain who broke kevin's hand, but instead loses him temper, forgets all of his media training and lets a nobody like neil goad him into losing control of the interview, and then his payback, things like shoving neil around and seth's death, are basically brushed off because neil doesn't really care that much. it's not given the weight to be a seriously omg this guys a threat first impression. and this isn't uncommon, lots of media hamstrings their villains at the start by making sure we know the main character is too sassy for them and can humiliate them, without thinking about how weak that can make the villain seem. it feels sometimes like nora wanted riko to be this chess master villain or tragic child who's lashing out at the world, without committing to it fully to either, or was just not an experienced enough writer to have known how to write either of those things in the pov of someone who hates riko's guts, which is understandable, writing is hard and that sort of nuance takes practice, especially if you just go by the books and not the extra content, and i do wonder how differently nora would have portrayed riko if she rewrote the main trilogy now with presumably a lot more practice under her belt. in the end riko ends up in this weird grey area to me where i understand why he's not popular, given he has none of the usual obvious traits that fans like to latch onto when redeeming a villainous character, and even the ones that are there are glossed over pretty quickly because of neil's pov, and a lot of his more interesting pieces are on paper not actively presented in the book, and not everyone reads super deep, but i also don't understand the amount of hate. i have literally never seen a character in any other fandom i've been in have this much fandom wide hatred.

See I have nothing to add here because you single handedly dropped the best analysis of Riko's character in the series I had pleasure to read so far and summed up all my feelings about why and what of the fandom. If the goal was to write a character that is impactful yet easy to hate then that goal was achieved but for me it real takes away form the magnitude of feelings Riko could evoke in reader and questions he could provoke in narrative if he was given bit different presentation that woudl still align with the lore we already have.

[everythingseasoning]

Heyo!

I was a lil curious whether you have SatoSugu ship fics written. I haven't read much of it and also because I dropped so many because of 18+ stuff and I don't like the interpretations of the characters.

So far, I am loving your take on both Gojo and Geto — have both your analyses saved to look at again when I'm writing. They're both amazing, I'm telling you.!

I know I could just yk, scroll around but I feel like hearing from the awesome person themselves is better.

Anyway, hope you're having a good day/night! :D

Hey! :) First of all, thank you so much for your praise on my JJK Character analysis!! ☹️🫶 I spent a decent amount of time thinking about these characters, trying to understand how they think, why they do/did what they did! It’s a huge compliment to hear and know that you’re using them as reference!! It’s so rewarding to know that the posts I released into the void have some sort of impact/that they’re appreciated. I’m still learning more about them as time goes on, too!

Suguru Analysis here, and Satoru Analysis here, for anyone who wants to read it!

Secondly, no, I haven’t written any satosugu stuff. Maybe one day? It’s an interesting thing to think about, how the two might interact if they ever met one on one after their fallout (prior to geto invading Jujutsu Tech ofc). I actually am going to make a third analysis post on the mischaracterization of Gojo in the JJK fandom, especially with Satosugu. People tend to completely erase Gojo’s strengths and personality in certain fan takes. Don’t get me wrong, I appreciate ships, but I think that people reduce Gojo to a sniveling mess of a man hung up on his ex best friend/lover, when that’s really not the case— Gojo’s strength is his ability to move forward, regardless of who he loses. Gege said this himself, that Gojo knows anyone can die at any point. Gojo was a man who was raised to be a weapon, shouldered a huge responsibility, and in order to do so, he couldn’t be the sensitive and clingy type of guy that people write in their fics (which sucks to hear if you’re emotionally invested in him, and people often don’t wanna exit their delusions). This doesn’t mean that Gojo isn’t touchy-feely, he def can be, but emotionally? He isn’t clingy. He could’ve been a WONDERFUL yandere character based on his childhood/teenage isolation, but Gojo didn’t have an incredibly strong sensitivity for others. That’s why he didn’t turn into a villain. He was, ultimately and unfortunately, a successful product, shaped by the people who treated him as less than human. Or that’s my current take, at least.

[yes-these-obsessions-are-healthy]

Veilguard is a black hole where I have no inspiration. I feel nothing for these characters. I don’t even feel anything for my Solavellan, if you can believe it. Maybe I’m outgrowing it (been 6 years) or I’ve simply thought and daydreamed absolutely everything there is for this romance, or my added daily adult responsibilities and work schedule make creativity and such difficult to gather up and channel into whatever, but Veilguard was supposed to be the extra kerosene to keep it burning, but it’s turned into a blanket smothering it. I can’t believe this game made me distinctly, actively, and deliberately not care about this world anymore. I don’t care about these companions or their problems or their cutesy lil non-issues, I don’t care about Rook, I don’t care about Treviso, the Crows, Lords of Fortune, Isabela, Dorian, the Veil Jumpers, Mythal, the Evanuris, the Blight, the Crossroads, the Venatori, the dwarves, the Qunari, the Antaam, Rivain, the Mourn Watchers, the Shadow Dragons, and hell, I sort of scarcely care about Solas in this present iteration of him. I simply don’t care, because the game has given me nothing to care about, because what is there is so hackneyed and superficial and declawed and just… the height of mediocrity. A 57/100 Metacritic-worthy storyline. A genuine 5.7/10 IMDB.

Nothing here for me to chew on, because what I chewed on in games past were the deep philosophical and morally ambiguous arguments and debates which, while not always handled gracefully, still allowed for exploration and critique and analysis. Here there is nothing. Nothing is contentious, nothing is “problematic”, nothing is gray or dark gray. There is just Good Guys and Bad Guys. There is no doubt, no regret, no genuinely lingering feeling of being haunted by choices because no one holds your choices against you for long, no one interrogates you. Reactivity? What reactivity? How is it that S1 of Telltale’s The Walking Dead (2012) managed to nail this sort of character reactivity better than this fucking game made twelve years later.

If the Inquisitor was bland and the character reactivity brief to your choices a bit brief, then in Veilguard it might as well not exist, because none of the companions will ever protest to any great extent that makes you worried you’ve genuinely fucked up, because everyone talks out their feelings and all the dialogue options and banter can only point toward reconciliation and emotional intelligence that only my fellow overly-therapized critically online lefties and liberals could conjure up. There are no hard feelings. Everyone likes you no matter what. Everyone forgives you for letting their city get destroyed, everyone is like “Nah Rook you gotta keep going, you’re doing the right thing!” as you bring down travesty after travesty everywhere you go.

It’s all the beats of a superhero film without the heart, without the messiness and problematique ✨ elements that made us dissect and argue and postulate for years. “Not only is this game free of problematic elements like in prior games, but we’ll explain everything to you—repetitively and poorly c: “.

Ugh this game is such a black hole for inspiration. I can’t even think or know where to begin with it. Looking at other peoples’ fanfiction AU endings written before Veilguard dropped is honestly my safest bet because everything else people wrote is better than what we got.

[sleepygremlin11]

The reactions to Miquella as a character is honestly so telling about the broader souls gaming community. I mostly mean on Reddit because I am like 90% straight cis Reddit guys couldn’t analyze a evil character with any sort of benefit of the doubt. TLDR at the bottom because I’m a hoe who loved to ramble…

I’m not gonna pretend that I have a perfect grasp on Elden ring lore, so if anyone notices anything like crazy wrong with this feel free to let me know. But, from what I have seen on YouTube and Reddit people are desperate to make miquella out to be the most evil mf to ever exist in a video game. In all of the analysis I’ve seen of him as a character. People don’t seem to want to acknowledge that he’s probably mentally stunted from his curse. Like be so for real 10-year-olds are the most evil motherfuckers to ever exist, being stuck like that for hundreds of years, would drive anyone to a little bit of mass genocide. People also don’t want to see that he had majority positive intentions, and if you’re looking at it in a way that acknowledges that he’s probably despite his actual age only thinking with the mental capacity of a young child, the sort of black-and-white morality that he used in his campaign is completely fitting for a kid of that age. I think dudes on Reddit just are all not allowed within 60 feet of school so they’ve never interacted with children before, but I think if I asked my cousins that are that age they would solve a corrupt world they would say they would force everyone to be nice if given the opportunity.

Also, please take a second to consider the situation he was raised in before you make judgments on him just being a completely morally black character. Marika is absolutely insane from what we know of her, and wouldn’t you know it? So much of what Miquella does is similar to his mom. But he also leads with intentions to be better than her and a more positive force broadly. anyone who has played Elden Ring can and should tell you that the setting of the game is absolutely grim dark. Most of the characters you meet want you dead and if they don’t want you dead, they will probably end up dying by the end of the game. Even in the games happiest endings, the end is still bittersweet and nothing is really fixed. particularly because that’s just what the souls like genre goes for in it’s messaging.

I don’t want to make baseless accusations of homophobia to an entire group of people and a fandom that is admittedly accepting for websites that tend to be cesspits of homophobia and transphobia. But I feel like despite They being similar intentions and results Rahni does not get as harsh of a reaction as Miquella does. I firmly believe that this is because he is one of the few queer characters that we see in any soul games. It’s of course not great that the one aspect of queer representation is an incest pairing where one of them is getting molested. But I would still categorize him as a queer character. I think with a het pairing people would be more willing to make the relationship seem less predatory, but because it’s a queer relationship and Miquella is admittedly a bad character, people don’t look at their relationship with any sort of nuance. Radahn and Miquella are not the only examples of incest in Elden ring, and I think it’s also very common for stories based on pantheons to have incest. That sure is weird as hell, not a good thing, and it’s weird as fuck in my opinion. But it’s common in these stories. This could just be me being naïve, but I have never seen such a harsh reaction to a couple in media even when discussing other similarly, toxic and abusive pairings within media.

Idk if anyone’s willing to share their thoughts on this, I am more than happy to talk in the comments, so please let me know what you think 🥺

TLDR: Miquella is an evil but well written character and his actions make sense in the story. Fandom should not regard him as harshly as they do. Especially on sites like YouTube and Reddit, which are adorably dominated by straight cis men. I think part of the reason fandom reguards him so harshly in these communities is because he is a canon queer character. It’s also two in the morning right now when I’m writing this so this probably makes no sense and I’ll delete it tomorrow. 





[tthatsonme]

Intellect, by molly.

— People often underestimate the seriousness of your sudden shift of motivation, in this day and age; it’s uncommon to see anyone (especially younger people) read a book or have any interest in having goals whatsoever, but you’re different, you’ve set the curve, you’re the centre of attention and everyone should be like you especially when it comes to academics, parents are constantly asking you to teach their kids your way because of how effortless your work ethic and dedication to school seems.

— Whenever the teacher needs an example on how to do a math equation or what a well written and worded essay SHOULD look like they always hold up your assignments as an example, you are 100% the best example of what a student should be like an any generation but especially this one, all of the parents and guardians with the “brain rotted iPad babies” or “wasting their lives away because of technology addiction teenagers” beg you to tell them what your “secret is” but maybe you’re not even fully aware of your greatness or level of discipline and success.

— You have a very distinct and important morning routine that you do every day, whether your routine has 4-steps or 40-steps it’s almost like it’s been burned into your DNA to follow it daily, your routine is not optional, you have the most perfect sleep schedule it’s almost as perfect as you, but in case you need a late study night you wake up everyday well rested regardless of whether you slept a full 8-hours or not, your memory to do things is amazing, you have a better memory than most people in your classes, you remember everything that you hear, read, and write in terms of school, you remember how to spell everything, your handwriting is always neat and legible, you could basically rewrite the dictionary at this point, fun fact: most people in this generation aren’t fluent in English because of the lack of spelling and vocabulary (my teacher said this so it’s probably true), while the other people in your class are crying over the phone ban if you have you you’re perfectly fine without your phone for 6-8 hours a day, you’ve never had any issues writing stories or having original thoughts, you have an extremely expanded vocabulary and are an amazing writer, “You don’t use brain rot?? Nerd alert!” It’s surprising to hear someone only use quote “brain rot terms” ironically, whilst the rest of the world is having unintelligent conversations about skibidi toilet and whatnot you’re the complete opposite.

— You have no issues in and are the best at all forms of mathematics, geometry, algebra, calculus, arithmetic, trigonometry, number theory, statistics, set theory, topology, discrete mathematics, probability, combinatorics, numbers, mathematics analysis, analytical geometry, differential equations, applied mathematics, game theory, pure mathematics, linear algebra, numerical analysis, and matrix algebra, natural sciences, engineering, medicine, finance, computer science and social sciences, biology, chemistry, physics, astronomy, earth sciences, zoology, ecology, microbiology, astrophysics, neuroscience, logic, ethics, psychology, philosophy, mechanics, and social sciences, morphology, sociolinguistics, pragmatics, psycholinguistic, linguistics, phonetics, historical linguistics, stylistics, and computational linguistics plus whatever other courses and classes that you have. [If this last part seems random it’s because it is, it’s copy and pasted from a personal sub I made a year ago for 11th grade :p]

_Things to remember

You can and will only ever manifest what you desire from this subliminal

Make sure not to obsess over your results because they can lead to limiting beliefs

You don’t have to listen daily or 1-7 times or anything like that, one is always enough with any subliminal :)