#and saying it on main would have not been productive

[cripplecharacters]

Hello! First I want to say how much I appreciate this blog, and how cool it is that so many different people from the disability community have come together to share your perspectives on this blog!

Onto my question!

There are numerous characters existing in books, comics, tv shows and movies that have disabilities. Many of them are well known and beloved characters. But 99.9% of the time their disabilities are used as plot devices, traumatic backstory’s, and forgotten unless their disability is useful to add drama or make a slapstick joke. As a fan fiction writer who sees myself in many of these characters, I want to fix this poor and ableist representation when I write these characters. My question is, how can I do that? I want to maintain what makes these characters who they are, including their disabilities, while still keeping them true their development. I want to add that I have researched all of these disabilities in depth, and the information I’m seeking now is how to include them with proper representation.

For example Steve Rogers’ (Captain America) entire origin story is rooted in the erasure of his disabilities. He goes from being disabled and mocked and bullied because of that, to a super hero, who is strong, fast, has enhanced hearing and sight. He’s ‘magically’ cured. What we love about his character is that his newly acquired super powers don’t change his morals and beliefs. But his disabilities have still been erased.

For this character (and other characters who magically go from disabled to abled) would you recommend finding a halfway point? For example, Steve Rogers still gets tall and buff and gains super strength and stamina, but he still some of his disabilities like scoliosis, hard of hearing, or diabetes? Or keeping him how he looks before his transformation, but still having him have his super powers?

Another example (marvel again, because marvel uses disability and subsequent disability erasure as one of its main plot devices) is Bucky Barnes/The Winter Soldier. He is a forequarter amputee who is given a science fiction prosthetic. This prosthetic required invasive surgery and implants (all of which was non consensual). His prosthetic is very strong, stronger than his right arm (even with super soldier serum that already makes him stronger than other humans). This technology doesn’t exist in real life, and this prosthetic (and prosthetics in other media that has amputee characters) is treated like a fix all: like a new arm but even better so then the character who went through dramatic trauma for the plot doesn’t have to be disabled anymore. Here is my conundrum: the winter soldier has a prosthetic left arm that he can fight with is an important part of his character. To not write him as an amputee erases his disability completely, but to write him without his high tech prosthetic also takes away from other important parts of his character. So my question is, when writing this character (and other amputee characters with similar situations) is it best to find a halfway point? Let this character have his advanced super strong and dexterous prosthetic, but have him actually treat it like a prosthetic (for example, he takes it off, doesn’t sleep with it, and knows how to do tasks without it). Or would it be better to make the prosthetic more realistic? As strong as his other arm, he can’t use it like a battering ram, etc. Or would it be more appropriate to find different ways for characters to do what they do without advanced prosthetics?

I would love to hear specific suggestions for these characters but it would be great too if you had some broad suggestions for repairing disability erasure within any existing work of fiction. Thank you so much for all of the hard work you all put into cripplecharacters!!

Hello,

My time has come.

So Steve Rogers is a product of his time. Back when he was created, living with the disabilities he had was far harder. But nowadays we have medications and treatments his creators would've never thought possible- I mean, this was the time when smoking was the treatment for asthma- so consider incorporating those. For some of them, like what's probably rheumatic heart disease from the scarlet fever, a halfway point would probably be best (more on that in a second.) For other things, modern treatments will do just fine. If Howard Stark can create a flying car, he can create iron supplements and blood sugar monitors. Let's see what he has and how he can be accomodated;

Asthma- the serum can strengthen his lungs and lessen the severity, or you can skip that step and instead look at modern treatments for asthma, which include breathing exercises, slowly increasing exercise to improve the body's tolerance, and a lot of medications. Without knowing the type of asthma he has it's hard to know what his asthma attack plan would be, but considering he has no mentioned allergies, it's probably non-allergic persistent. This can be treated with a combination of long-term control medications, which are taken on a set schedule to help prevent asthma attacks, rescue medications that are used as-needed for asthma attacks, and possibly biologics, which are injected medications for people with severe asthma. These medications are a bit similar to immune suppressants, suppressing the body and immune responses that cause asthma attacks. He can also do breathing exercises to strengthen the lungs and slowly build up exercise tolerance. The bigger lungs due to his bigger body should also help.

Diabetes- there's a massive range of insulin pumps, blood sugar monitors, sugar tablets, and whatever else have you that makes life for diabetics. He'd also benefit from a diet plan, which will take in his level of diabetes, what his pancreas can handle, and potential problem areas to create a diet that works for him and helps him avoid hypoglycaemia and hyperglycaemia.

Astigmatism- contacts, or just some form of glasses or goggles. That's assuming his vision is bad enough to need correction at all, because some people with astigmatism can get by without. He's gotten this far without any form of corrective lense and he's not a long-range fighter, so he might not even need them. Still, they would be useful for him to have in his day-to-day life.

Rheumatic fever- this is one of the biggest problems. Rheumatic fever and scarlet fever mess the body up bad, and I'm willing to bet these are what cause his cardiac arrhythmias (irregular heartbeat.) The serum could strengthen his heart. He can also use a vast range of hypotensives (for the high blood pressure,) any number of heart medications, maybe anticoagulants to reduce risk of blood clots, a pacemaker or other implants, maybe surgery to replace damaged heart valves, and regular check-ups on the health of his heart. If all else fails, a heart transplant might be on the table.

Bone deformity- the treatment is going to depend on which bones, the severity of the deformity, and the cause. They didn't specify, so you can find what you think you'd best be able to work with and go from there. Treatments can include surgery, braces, physical therapy, and some medications that can treat the underlying cause.

Scoliosis- probably can just be left alone, maybe a little physical therapy to help him reduce pain. If you've decided he has a severe case, he can get surgery to straighten his spine. (Personally, I would love to see a character with scoliosis who has rib cage deformity.)

Nervous trouble- probably an anxiety disorder, can be treated through a combination of therapy and medication

These writers didn't live in a time where a soldier could have these disabilities, but now we do. There are treatments available for him that can help him, things the writers never could have imagined back in the thirties. He can still be a super soldier with his disabilities.

As for Bucky, take my opinion with a grain of salt because I am not an amputee. But you're right, him losing his arm and Hydra forcing a replacement on him is a huge part of his story and would be incredibly hard to change. The easiest way about it would probably be to keep it the same, he loses his arm and Hydra gives him a new one, but he gets rid of the arm once he's free.

The arm has failsafes in place to protect his handlers and he has no idea what kind of risks it holds, like if it has a tracking device that could lead them right to him. It's a liability and could put him in danger. He also didn't want the arm in the first place and, based on the scratch-mark scars where the metal meets his shoulder, he has tried to remove it before. Plus, if something goes wrong, he can't fix it. That arm is centuries ahead of modern technology, created by Hydra top scientists, it's a titanium alloy, he has no idea how it works or anything about how it was made, the tools required to fix it are probably hundreds, thousands, even hundreds of thousands of dollars (or tools that only exist because one Hydra guy created them, meaning Bucky can't get them and probably can't recreate them-) look, he has a high school education from a century ago. There's no way he's going to be able to fix or even maintain such an advanced piece of technology. Even if he did somehow know how to do it, he doesn't have the funds to do it. Sooner or later, the arm is going to be a problem. So he would probably get rid of it. Tony Stark would jump at the chance to help him remove it, he would love to get to stick it to Hydra.

Getting rid of the arm can also be a freedom thing. It marks him as the Winter Soldier, it's a symbol of Hydra's control of him. By getting rid of it, he's one step closer to being free of their hold on him. He doesn't need the arm. The movies demonstrated that he's perfectly capable of getting by without it, showing him easily running his little goat farm in Wakanda without his bionic arm or even a realistic prosthetic, just using his remaining arm. (Additionally, did you see the look on his face when they gave him a new one? The exhaustion in his voice as he asked where the coming fight was? He did not want that new arm, he wanted to keep happily existing peacefully on his farm and having the arm meant he couldn't do that. He wouldn't want a new bionic.)

For Bucky, I would recommend letting him ditch the bionic as part of his quest for freedom.

In general, my main recommendation would be accessibility and medicine rather than magic cures. If you have any other specific examples because Marvel very, very rarely did disability representation right, feel free to ask if you need help improving them. It's my passion. You have no idea how excited I was seeing this in the ask box.

Mod Aaron

Hi!

Going from deaf or hard of hearing to having super hearing is a bit tricky. I'd recommend this way of doing both:

The ranges that are affected by his specific hearing loss stay hard to hear (with only very mild improvement if any).

The ranges that aren't affected get amplified, possibly even to a debilitating degree.

For many deaf/hoh people, hearing things, especially if the sound is louder than we expect, is very overwhelming. The solution above somewhat mimics the experience of wearing hearing aids, but since they are his powers they can't be removed the same way. (It would be very interesting to explore that through the lens of paralleling forced oralism...)

Mod Rock

[rikosseen]

Shintaro Yamazaki x Reader: Predawn

Anon request

The Yamazaki syndicate is full of weirdos. Hot weirdos. And amongst these hot weirdos, Yamazaki Shintaro holds the golden DILF trophy. It’s not like you had anything better to do than to gawk anyway. Fulfilling clan duties, cleaning up whatever you needed to, spying on Somi Park and the other ladies- what’s a woman to do with such a repetitive lifestyle?

Previously, the main objective for your presence was to carry the future heir for Yamazaki. However, before even meeting Shingen himself, news had spread across the clan that a child with reverse eyes had been born.

And so, to prevent your family from embarrassment for not fulfilling your duties, your days were spared working as- well- a maid. A servant, if you will. Not the brightest role, but it was something. And hey, at least your insides didn’t get destroyed by big, Tora Oni dick.

Anyway.

Today’s a nice day. It’s sunny, but not unbearably hot. There’s even a cool wind breezing around. What makes it nicer though, is that Shintaro’s blessing your eyes with his presence.

God, look at those forearms.

Can a man of his calibre be seduced? Maybe not, but what did you have to lose? You’re scrubbing floors for crying out loud. So, shamelessly, you sit on your knees, looking up at the hulk of a man in front of you.

Shintaro isn’t stupid. And while he doesn’t care too much for his looks, even he can’t deny the amazing traits that the Yamazaki genetics has been able to carry. So of course he notices your bulging eyes. Of course he’s aware of your staring- of your drooling even.

The man doesn’t complain though. Your behaviour is… amusing. In the dead atmosphere of the syndicate, your presence brings humour. To complain would be to form contact with you. And, well, Shintaro’s adamant on thinking that there’s no need for him to initiate conversation. After all, he has better things to do.

.

You swiftly wipe the bead of sweat from your forehead, and sit on the ground. It was 5am- the sun’s not up yet, but you figured it’d be in your best interest to finish chores early so that you’d have more free time during the day. Needless to say, the morning was a productive one.

“It’s a little early, don’t you think?”

You jump at the voice beside you, heart thumping against your chest.

Oh god, oh god, oh god. Oh god, he’s so close.

The man looks down at you with his default, bored expression.

“You're up too,” you say, voice cracking.

Ugh, how embarrassing.

Shintaro hums, and showcases the paper in his hand.

“Don’t you get bored with the same routine everyday?” you joke, shifting and fiddling with the grass beneath you.

His face turns solemn, and he seems hesitant, but after giving you another look, he sits down beside you cross legged. You grip on the grass a little tighter, sucking in a quick, quiet breath.

“Someone has to keep things in order, no?”

You suppose that’s true. “Doesn’t it weigh on you?”

Shintaro wants to criticise you and tell you how much of an honour it is for him to be in the position that he is. But in the wake of predawn, and the result of the restless nights he’s endured, the Yamazaki can’t help but feel a tinge of agreement. Maybe so, but it’s something Shintaro will never voice out. It’s just the sleep getting to him. Actually- he wouldn’t be thinking such ridiculous thoughts if not for you. Maybe he was right to avoid you from the beginning. Doubt clouds his mind now. He glances back at you, and watches as you fiddle with blades of grass.

“I suppose,” he concludes.

.

A schedule breaks out, and you find yourself waking up early. Not to complete your chores, but to see Shintaro again. Time and time again, the Yamazaki joins you on the grass, and the two of you end up talking about nothing in particular. It’s mainly you doing the talking, but regardless, Shintaro listens.

He doesn’t say anything unless absolutely necessary. The man feels it too dangerous to even be in contact with you like this. His thoughts are never kept at bay during these predawn shenanigans. But somewhere deep inside him, he’s grateful. Grateful for the serene warmth you provide. Shintaro doesn’t complain. He doesn’t need to. Because slowly, even he’s finding excuses for why he’s sacrificing his sleep to be here.

[anonymousad]

an unbiased review: the Among the Stacks crowdfund

if you would like to follow along, or if you for whatever reason do not trust my screenshots of the campaign: https://www.indiegogo.com/projects/among-the-stacks-season-1#/

this is going to be very long and I apologize. but when I thought about leaving out some parts to cut it down, it didn't feel like I was doing due diligence in communicating the full picture and providing constructive feedback and critique. I think I have some good notes in here for general things to keep in mind for anyone asking publicly for money to fund their passion project.

so. let's get into it.

The Campaign Video

this is the first thing you see on the page, displayed prominently at the top next to the title and goal.

but before it even starts, why is it a full 10 minutes long??? this is your elevator pitch opportunity, you need to get to the point and make your case before someone clicks away. because unless I already care I am not sticking around for 10 minutes to hear you say the same thing I can read for myself if I scrolled slightly down the page. (that's not even mentioning that any video which is exactly 10:01 long just makes me think of how youtubers pad video lengths to hit the time requirement for putting ads in the middle)

but anyway, let's talk about the video itself.

first up: the content

cut. it. down.

10 minutes is an egregious length for what is supposed to be a video that grabs attention and funnels people into taking the time to read the rest of the page. it is not meant to be a video version OF said page. even 5 minutes would be pushing it in most cases, and the most important information needs to be in the first 2. that means the elevator pitch for your story, ideally 1-2 sentences, and then an explanation of what you are asking for and why. it is fine to set the tone with an excerpt or thematic prose, but keep it BRIEF.

there is no need to spend nearly 3 minutes of the runtime playing samples of your most famous actors for clout. especially when you barely touch on the 12 people that are part of the crew .

touching on various perks of the different tiers is good, as is reiterating the goal amount, but it would be nice to have visuals to go along with the more interesting and complicated sounding ones. the visuals that are included are lackluster and the small amount of shown art is way too obscured by the "copyright" watermark.

finally: why the fuck is the last minute and forty just music. no, seriously. almost 2 minutes of time wasted for the sake of what? fade that shit out after 10 seconds and end the video, I'm not here to listen to your theme tune, I'm here to learn about the project.

also, don't use "Kickstarter" as a general synonym for "crowdfunder". it is confusing and will make people forget how to actually find your campaign.

second: the quality

you are making an audio drama, yes, so producing nice videos isn't your end goal. but it DOES still matter and is a reflection of the care you put into your work. if I like the video, then yeah maybe I go and check out the actual content you've released on the Among the Stacks feed. but your feed isn't embedded at the top of this page. your feed isn't the first impression I'm going to get of your production quality. this is.

we could nitpick how the transparent logo on the library background makes the text unreadable, or how the cast announcements aren't lined up properly with the visual transitions, or how more than one take was definitely needed because some of the stumbles are extremely noticeable. some of the issues are visual only, but there are plenty of problems with the audio itself in this video, which is especially suspect when what you are asking money for is an audio project.

so when the opening voiceover changes to a more informal description of the project, why does the quality go to shit. the first part sounds like it was recorded in a properly treated space with care for removing background noise and reducing echo and reverb. in the second, I can constantly hear birds and there was a fucking discord notification at the 1:45 mark. most bafflingly, it's the same exact voice (I assume showrunner Nigel's), so HOW can the quality be this inconsistent??? I'm not looking for fancy, I'm just looking for the bare minimum in quality for something like this.

all this tells me, is to expect inconsistency in your product. if I give you money am I going to get the treated professional approach or the slapdash one? this video is the way you are demonstrating your quality to prospective backers; you provide no other examples directly on this page so THIS is what you have presented as an acceptable representation of you and the project as a whole.

this shit matters, it really does. ESPECIALLY when you are asking for $21,000 dollars. which leads us to...

The $21k Goal

with names this prominent in the AD space attached, I did have an expectation of a somewhat higher goal than I've seen on recent smaller projects. but I was not expecting the actual goal to be this ridiculous.

let's compare this number to another high profile project that happened last year: Re:Dracula (https://seedandspark.com/fund/re-dracula)

off the bat, you can see that this project raised about $24k on it's own, but if you scroll down to the budget section it says "We estimate that this production will cost $22k. You'll note our goal is $12k - this is because we've received $10k of external funding outside of this campaign!" for a total of $34k

now you might see that and think "well anon, is that not basically the same thing? they actually raised more than that!"

there is as big difference between a project that is being spearheaded by a well-established and proven name in the audio drama space like Tal Minear and a project being driven by someone that most people haven't interacted with in any production capacity (I'm sure Tal would have their own interesting things to say about this crowdfunder, as they have quite a bit of experience themself in this realm). ADDITIONALLY, in the Re:Dracula campaign video (which is only 2 minutes if you were wondering) they state it is an "all or nothing project", meaning if they couldn't raise the necessary funds it wouldn't have happened. so when Re:Dracula asked for that money, there was an expectation built on past proven work and releases and the ask was made based on that.

(now do I also find that amount of money for Re:Dracula to be a bit ridiculous? honestly a bit yes, but as a production it is very much a professional venture within the space more than an indie project fueled by passion to tell a story. the whole thing exists to capitalize on Dracula Daily tho, so I think we all know that)

there is an expectation of quality and professionalism that is proportional to how much money you are asking people to entrust you with. it sounds shitty, and it is, but crowdfunding is about asking individuals to put faith in you and your vision, and it is your responsibility to do right by those people.

I should point out that there is no problem with a flexible goal, which means that money will still go to the project if not fully funded. but I do think it betrays that they know this goal is nonsense high.

but we will talk more in-depth about the budget breakdown in the next section.

The Donation Tiers

this is the bit that will be the most presumptive, as the nature of backer tiers is that you don't know what the goods will be like until a while after the campaign is over and stuff goes out. so this will be a more general look at the different levels, whether the perks seem to be fairly placed/distributed, etc.

my first question tho: why are nearly all of the tiers seemingly "discounted" right now (the day after launch)? is it a limited time first week of the campaign thing? if so, why aren't you using that to advertise and push people to pledge early to take advantage? in some industries this kind of thing is common practice (video games often launch with small discounts on digital platforms like Steam), but I have never seen it on any kind of crowdfunding campaign. I didn't even know it was a thing you could do.

I do like the visual cohesion with all the images used across the tiers. the yellow and purple thematically match with the show's website (which interestingly is not linked a single time on the page), though I'm unsure how legible it is when it comes to the text images within the main campaign body, definitely hides some the details of the pictures here against the parchment style background. the art styles themselves are exactly consistent, which is pretty obvious why once you realize they are all traced off other pictures or artwork (for example, this one is a clear base for this one and I was able to quickly find ). I was going to give the benefit of the doubt and assume this is a legal use of them since I can't hunt down every single one. but the hands holding a rosary image is from a site that says "attribution is required", and that sure wasn't done here so I don't know if any of the others were traced without permission or proper credit given. nowhere on the page is there a link to or mention of who created these images for the campaign. (unrelated, but alt text for images should be standard by now on sites like indiegogo, especially since so many campaigns utilize banner images instead of header text to differentiate sections)

okay let's actually look at these tiers (at the price before the discount):

there are 10 options total (plus the general donate without a perk) ranging from $6 to $267 USD. as a high and low these are good boundaries, with 6 of the options being below the $100 mark. honestly this is a really solid distribution in terms of offering options at the lower end while still giving variety at the middle and higher end.

the first four are restricted to digital content only, with the baseline offering discord access and a social media shout-out and then progressively adding digital annotated scripts, early access to episodes, and the digital "librarian guide".

the annotated scripts is an interesting perk considering it will apparently include both past and future episodes of the show. however that isn't particularly specific about whether it is even talking about season 1 scripts or if it means scripts for only the current "prologue season" as it is defined in the main text of the campaign (oh we will get there). it does has a general delivery timeframe of April 2023, but is this a one and done or will these backers continue to get new annotated scripts thru the creation of season 1? how many will that come out to? will they get all the scripts? these are not small questions when it comes to asking value, though at a price point of $12 I think most people would be satisfied with a few from throughout the first season.

similarly "early access to episodes" is too vague and needs to be more specific; when Red Valley crowdfunded last year they stated that backers would get access a full week before the public, but all the ATS campaign says is "ahead of the general public". it is worth noting that both campaigns asked $18 for this level, so we are in line there it seems.

the Librarian Guide is a neat bit of content to offer, though I wish there were mock-ups or even a little more information about the type of things that will be included aside from illustrations. "information" could mean star signs and the fact they hate cake, or it could be substantial like their background and how they came to be part of the story. the price has jumped to $33 at this tier, so sell me on why I should give another $15 for this.

from here we start bringing in physical goods, which can really drive people to giving more for that extra thing to show off.

at $44 we add a 5 count sticker pack. considering ordering minimums I think people often discount how much nice stickers can cost (assuming they go with nice ones), plus factoring in the postage from Ireland for even a regular letter envelope. so I think this is a fair jump up in price. the real question is, what are the designs? and actually, is it more than one design? because the wording is very non-specific to whether it is 5 of the same sticker you see a mock-up for in the video (which is just some black block text on a white background) or if it is 5 different designs that include actual artwork, or what. a sticker pack usually means multiple designs, but given we've only seen one thing that wasn't very impressive I don't know that that stuff is even prepared yet to send for printing. there is also nothing said about the quality of stickers in terms of vinyl, heavy duty, die cut, approx size, etc.

at $60 we add another digital reward of being thanked in the episode credits, a tier which does not have a limited number of slots, so I guess hope that it doesn't end up with 20+ names that have to be read out for every single release?

now we jump to the big leagues of pricing and physical production with the physical Librarian Guide at $128 USD. this is a pretty non-standard physical good which is an awesome thing to offer.

but here's where I feel something needs to be said about manufacturing, because that shit can go south fast. physical goods can be hard to produce on their own, and promising too much will lead down a road of stress and frustration and lots of time and money wasted if you don't know what you are doing. I know people who have goods manufactured as their entire business and it is a fucking gamble sometimes.

but also, what exactly does it mean for this to be a physical item? it is 24 pages, which is too short to be bound like a book (even an art book). is it a zine? what will the quality of the print be and will it adequately show off the artwork that you are all proud of? this is where mock-ups or a sample page would be really nice to see.

a big jump up to $171 for the addition of a t-shirt. an additional $43 is somewhat steep I think, but that's probably fine because we're factoring in a middle man and shipping costs. but on the mock-up... why is the artwork so obscured? I genuinely cannot figure out what it's supposed to look like, which is a pity because what I can see seems interesting. are you really that worried about someone stealing the design?

for only $213 there is the option to name a character. again, no limit on the number of slots for this strikes me as weird since there are only so many characters that can possible BE named? especially given that all the currently announced cast have character names, so are there more people that we don't know about and aren't named or are some of those names up for change or is this just a "in the transcript you'll see the name and maybe it will be said once" kind of deal?

another small nitpick on this one. here's the description for it:

just lose the last line. the two before it do a good job at saying "hey it will have to be approved, and we don't stand for hateful shit", so the last line comes across kind of weird? it feels somewhere between 'no fun allowed' and 'you're an idiot' and is wholly unnecessary to get across the restrictions you want.

last tier sits at $267 USD (or an even €250 EUR for those who like round numbers). this is the reward that I always fucking hate to see, and it's somehow more egregious for how it's framed here. for all that money, you can get an executive producer credit.

this is a note for everyone doing a podcast crowdfund campaign: STOP DOING THIS SHIT. do you know why this reward exists? vanity. that's literally it. it exists for someone to claim that they were part of a project they didn't do anything for to try and gain clout.

now, why specifically does THIS ONE enrage me? for one, it is literally the only addition at this highest tier. add a handwritten thank you note or a chance to talk with the writers or SOMETHING. this is wholly unsubstantial for being the ultimate backer reward. but back to the credit itself, do you know where you'll be able to find it? only on Podchaser and IMDb. no mention of being distinguished in the credits of each episode with this label, nothing about being recognized on the website. just those two places that mean nothing and will barely be seen by anyone. do you know how easy it is to get on IMDb? embarrassingly so, and nobody will ever look. this kind of title exists for putting on a resume and looking impressive, but then if someone where to ask any follow up question you're kind of screwed because you actually did nothing but pay for it. so unless your only goal is to have your name attached to a project that has some well-known actors in the tiny pond that is audio drama, this shit is worthless.

so overall, I think the tiers are reasonable theoretically (minus the last one), but the lack of mock-ups for the more interesting stuff is definitely hurting that assessment.

The Campaign Itself

"About Among the Stacks"

minor gripe right off the bat, why is everything in this section a bullet point? those are for things in a list, which this is not. just leave them as paragraphs, which is basically what you've done anyway.

sorry that was distracting me. but let's talk about the actual content and some general advice.

the first thing I expect to see here is your elevator pitch. I talked about this in the video section, but since not everyone will watch your video (especially in this case when they see it is 10 minutes) you have to put it here. tell me why I should keep reading past your first paragraph. if I only read this campaign I would have no idea what your show is about or trying to be about.

instead what we're given is the setting and framework of the project. honestly this is good to include when there is a driving idea like "[creating] an open and inclusive space for creators to tell the stories they want to tell within the framework of the Library", and I take no issue with the inclusion of this. it could be said a little tighter (something this whole campaign could have used was a bit more editing to be honest), but the core principle is communicated and it sets the tone for what this project is claiming to be.

the 4th bullet should come next as it is the first mention or hint at the podcast feed even existing already. this is your way to prove that you can and have made stuff for the project and it doesn't only exist in people's heads. also, why is there no link to it?

it is nice to get the framing of who this project is largely coming from more than just looking at the name "Nigel McKeon" (she/they according to the website) as who created the campaign. it would be nice to get links to stuff like the poetry or podcasts to get a sense of her work, especially as they are asking for this much for what is essentially blind faith based on what this page gives us.

it is worth noting that while Nigel definitely has experience as a "podcaster", they do NOT have experience making an audio drama. her projects to this point have largely been unscripted talk podcasts such as Archive Admirers or Hyperfixations, so there is no indication of the quality of writing to expect from the project, even with a team of writers working on it. speaking of...

very interesting that our last paragraph here and the only image of this section is about some of the cast. this point is devoted to bragging about 6 of the well-known actors who are already involved in the project and listing their recognizable credits. the image below shows of 20 of the actors (including those 6), and even that barely scratches the surface of the 51 actors listed on their website as cast.

yep, 51. it is unclear to me how many of those are for one-off parts or actually considered core cast, but they are are named characters and apparently listed as equals so this is what I have to work with here.

it just so happens that these listed and pictured actors are the biggest names involved. which I get to an extent, you want to attract people to the project and that's a good way to do it. but that shouldn't be the ONLY thing your success is counting on. there are SO MANY big names attached here that it's suspicious to be honest.

also. why the fuck do you only mention your crew in passing here?

I don't care how talented your cast are, they won't be able to save bad writing or editing. your crew is just as important and yet THEY get no more than a passing mention. there are some really great people attached to this project and you are giving them zero recognition for all the hard work they had to put in already. before you could record these well-known voices, people had to write the scripts and flesh out the characters. so treat them with some respect for that!

I cannot even begin to communicate how infuriating it is to see the lack of credit given to the whole creative team, because the way this is presented feels like it's just Nigel and maybe some guest writers. if that IS what it is, then fucking say that! it isn't hard to communicate this stuff, and it is your duty when asking for this much money. always err on the side of being verbose.

I do think that generally more care needs to be taken with word choice and what is being highlighted though, because as with the tier descriptions some stuff is too vague or implies something that maybe isn't true.

I don't want to make assumptions about the people involved, particularly Nigel (she/they) who's project this is, but when I look at the pictures on the website of all the cast and crew involved in the project, I see a lot of pale skin. some of this might speak generally to the problem we have in the audio drama community of being very white, and it should be recognized that there is an amount of privilege associated with having the time and money to take on these kinds of creative hobbies. even with the bar for entry being much more accessible, things are a bit homogenous. but if you are claiming to care about platforming diverse and marginalized people, you need to show that. "show don't tell" is kind of the backbone of a lot of my issues with this campaign when it comes down to it, but this is one of those places where it really fucking matters. performative activism is something that we see a lot of, and I don't want to get into it here, but just platforming queer and ND voices is not the same as being diverse. queer activism and racial activism and disability activism and economic activism are all connected when you get down to it.

don't say you have an "incredibly diverse writing team" when I can look at the website and see that everyone is pale and very young. this does not read as diverse, it reads as "I didn't realize other neurodiverse people existed until I got deep on the internet and now I understand we are a marginalized group too".

(don't get me wrong, neurodivergence is absolutely a marginalized thing; it is still incredibly difficult for many people to get accommodations and help with managing the different struggles they may have. but even in that realm, it includes more than being ADHD or autistic and I'm getting on my soapbox so I'll stop here)

aside from all of that there is a piece of incredibly important information that just isn't here. how many episodes are you trying to make with this.

saying this will fund "season 1" doesn't mean anything when a podcast season can be anywhere from 40 episodes (The Magnus Archives) to 15 episodes (Jar of Rebuke) to only 4 (Samite). what does "one season" mean to your project? this is particularly important when it comes to justifying your budget and the breakdown of that work, as I'm about to get to.

(in that vein, communicating information like approximate episode length is also helpful I think for giving people an idea of the actual scope of the project; 20 episodes at 30 minutes each is 10 hours of content, but at an hour each that's twice as much work for all involved parties)

fucking hell, onto the next section where things do not get better.

The Budget "Breakdown" and Rewards

did you even try to make a chart where the text didn't go outside of the boundary, mate? also I hate these colors, it hurts to look at.

this is the chart provided, which basically just mirrors was the first bulleted paragraph states in terms of project budgeting. obviously for this section the monetary amounts did not automatically convert for to USD, but since all money is basically worthless right now it's pretty close to a $1 = €1 conversation rate anyway.

the project budget is split into 3 big categories: cast, crew, and artists. and split no more granular than that, which is big problem #1.

especially when there is no transparency on this page about how many people are involved within each of these groups, this could mean vastly different things and send a poor message generally. some people will look at this and not understand whether it is a fair ratio or not without the context of numbers.

if I were to do some rough calculations based on the information readily available via the website, we have:

20% or €4,000 to be split among the artists, of which there only seems to be the one on the website (Claire) and the one who made the character designs pictured lower on the page (@qkayoo). so that is €2k going to each of them roughly, though I know that likely isn't the actual shake out because Claire is responsible for all the episode art in addition to any of the other work being done specifically to fully campaign rewards like the t-shirt design. I'm also guessing that promotional materials for social media are included in this, but that's unclear since there's never any mention of marketing as part of the budget or campaign overall.

30% or €6,000 to be used for crew wages, which includes writers, composers, and producers. again, no mention of how many people this is or what the breakdown of that larger percentage is to each of these groups. should I also assume that there is going to be adequate compensation for the directing even though it isn't mentioned here?

the website lists 3 people as either "music", "composer", or "original songwriter" (not sure what those distinctions mean though in this context) but are we talking about vocal tracks or ambient music or what? and how much unique content are they expected to produce? is it comparable to the expectations for the visual artists, and if so why aren't they receiving compensation that reflects that? these are the questions I ask myself when you give me this little information and don't even bother mentioning who is involved in this part of the process.

similarly we have 3 producers, most of whom wear additional crew hats. are they all working together on each episode or is the season going to be split between them to ease the workload? on that note, is there a head producer in charge of doing final mastering on all episodes to make sure they sound consistent, because that is a lot of additional work compared to the other two.

and then there are 9 writers, so I start to wonder what is the breakdown of that load. is everyone writing full episodes or are people just writing the stories and Nigel as showrunner is doing all the larger plot stuff?

basically I just want to know that people are being compensated appropriately for their time, particularly the people whose work is sometimes not thought about or invisible such as the dialog editors, mixers, quality check, etc. even if the person doing these things isn't asking to be paid for that, they deserves to be compensated for each part of the process they are devoting time to. paying yourself adequately is part of equitable pay, even when it's your passion.

50% or €10,000 for all the cast wages, which as I've pointed out is at least the 51 people credited on the website, though again there is no mention of that here. I won't assume this is to an equal extent, but even if you are listing folks who literally have just one line you still need to compensate them a base amount for the time and effort.

I'm not really gonna say much about fair wages, I think that without insight into a process you can't really pass much judgement on how much work is going in? for example, recording voice over for an audiobook is often compensated in terms of "finished hour", rather than factoring in the additional amount of time spent doing retakes and editing it all together. compared to a production that wants to pay actors for the time they spent total, including things like table reads, live-directed, and asynchronous sessions, that number is going to look very different. differently skilled actors may require more or less help and industry rates are also dependent on your level of experience in the field. some of these bigger names will have a set rate, some of them will not.

I think the largest issues with this section is just the complete lack of justification for ANY of these numbers. when you say "we have estimated it will cost this much", what got you to that number? are you using industry standard rates for general voice acting or did you consult with audio drama specific folks, because those amounts can be different. the more money you ask for, the more conscious you have to be of how it will come across. if I asked my mom to lend me a $20, she won't ask why. if I ask her for $100, she probably will. if I ask for $1000, she will definitely want to know what exactly I'm planning to spend that much on.

we're going to jump over the rewards paragraph for a second to hit the last bullet point since it really belongs up here will all this money information.

as I stated earlier, I have no issue with flexible goals. in fact, it's very nice that it is again addressed here, because I really don't think this campaign will hit that $21k USD goal.

however, what exactly does "paying equitably" mean in this context, because that phrase could be a couple different things. does it mean these same percentage breakdowns for every individually, meaning if I were going to have been paid $500 but it only gets 50% of the goal would I make $250? or does it mean that some people like the larger named actors will still make most of what they would have and people with only a few lines will make a few bucks?

the term "equitable" does not mean "equal", they are genuinely different things. so apart from the larger percentage breakdowns being the same, which were already too broad of categories, it doesn't really tell us anything.

additionally, if the project doesn't get fully funded will there be any money paid out of pocket by Nigel or other crew to cover any promised or guaranteed minimum pay? I would assume that for some people involved this is very much part of their contract/agreement, formal or informal.

also, normally I would like to see the stretch goals section up here rather than down near the bottom as it is for this campaign.

but that's all for the budget, there's not a lot of information to work with here and I've already covered pretty much everything I can think of.

okay, back up to that rewards paragraph we jumped over.

there isn't very much to say about the rewards in this section because the campaign itself says basically nothing. this is where I looked for further details on any of the items promised by the different tiers and the only thing I found was a brief paragraph, a t-shirt mockup (that you can't see the design on, this will never not baffle me), and two character designs for the Librarian Guide, which the caption mistakenly refers to as the "Library Guide". proofreading is important folks.

let's look at this one paragraph though, because there is something very incorrect about it. if this were Dora I'd ask you to point it out for me, so fucking say it at your phone if you spot it:

did you catch any of the issues/inconsistencies here?

the first one is small: "thanks on our social media pages and website". this is the first mention of the website existing anywhere in the body of the campaign, and there isn't even a hyperlink to it. the lack of links on this campaign is just generally baffling.

I'll come back to the middle ones because they are the same issue twice, and the last one is another small nitpick: if you executive producer reward is the highest tier, why are you not presenting it that way here? from reading this I would assume name a character is the top prize for backing, not the fancy vanity credit. like I said, I fucking hate it as a reward, but you are the one trying to sell it to me as such and not doing a good job of it.

okay, so the thing that actually made me stop in my tracks and scramble confused to see if I missed something is the inclusion of 2 rewards that don't seem to exist. why are you claiming that "perks for supporting the crowdfunding include" t-shirts (note this is plural), posters, and pins.

let's take a brief detour with "t-shirts" plural. if you think this sounds pedantic, it really isn't because saying "a t-shirt" was always on the table. there is no tier at which I can support and receive multiple t-shirts, there are not multiple t-shirt design options. no reason to use plural phrasing here when everywhere else it is clearly a singular, feels like a mistake or trying to sound more impressive than you are.

posters and pins however, are entirely fucking new to the conversation we're having. I will point out that the concept of a pin set is mentioned in the stretch goals section BELOW this one, so reading top to bottom as one would expect that isn't known about yet. but even if it were, this is the paragraph talking about your INCLUDED REWARDS, which DOES NOT include your stretch goals. these are the things that someone can explicitly receive for backing your campaign, not the things they might get if you make enough money.

also you can't even make the stretch goal argument for posters however, that shit is not mentioned once anywhere else on the page, not even as a digital reward.

my guess is that this section was written before stuff was finalized or scoped down to the one t-shirt and limited physical goods, and just not updated because no one read over the campaign before launch to point out that adjustments were needed.

"Other Things We'll Be Doing"

just one paragraph here, should be a quick section to review.

right?

RIGHT?

it feels incredibly strange to me that you are asking for this much money when you admit that you are new and not "established members of the AD scene". just very weird behavior generally.

but as for the actual content here.

why the fuck are you promising so much stuff that isn't part of making the show. all of these things take time and energy and people caring enough to make that worth it. if you stream yourself playing a video game for 12 hours total and no one watches, you've spent 12 hours not actually connecting with the community. streaming is work in and of itself with no guarantee of any kind of interaction. and even you do have folks in chat, it's still incredibly one-sided and the streamer's first priority is the game rather than that communication.

the same goes for all these other events, except maybe the hangouts if the entire purpose of those is to interact with chatters. but it's more likely that's just some cast and crew in a discord call that happens to be streamed rather than an interactive type of thing.

in fact, none of these events actually connect you with your fellow creators or prospective fans except, as I said, potentially the hangouts and readthroughs. where is the actual community engagement and outreach? how is any of this supposed to help the project?

this shit is some of the worst to me and it will do nothing but slow down the entire project, because ALL of this requires way more work than you think it will. work that doesn't serve any purpose as far as this campaign goes.

if you want to do these things outside of it, go right ahead. but don't pitch it as part of this or you are implicitly saying that this crowdfund is kind of also funding all of that rather than just making the show itself and fulfilling rewards. this is a lot of time commitment that people are either being paid for or being asked to do as free labor for the show.

also, we once again have issues with being vague here. how many events are you planning to do for each of these different things? who will be hosting/participating in them for the more casual ones like the gaming and TTRPG streams? are these things planned for during the crowdfund period, after the crowdfund but before season 1, during season 1, or a mix of all three?

oh yeah, and what do you mean by "a full cast readthrough of the prologue", because from what I could tell above you have 9 episodes of a "prologue season" out with however many more to go. so is this a full readthrough of this season 0 or is there a DIFFERENT prologue yet to come? and if there IS a different singular prologue episode, why should I even bother with the stuff you are releasing right now?

Milestones

I like this section, it's genuinely good stuff. enticing people to contribute for immediate bonus content is a great way to drive engagement and it can snowball as more funding means more sneak peeks means more eyes see your campaign.

WTF Are These Stretch Goals

not gonna lie, stretch goals is the first place I go when I check out a crowdfund campaign. it says a lot to me about the larger project priorities and reveals a bit more about what people deem as fair compensation for work.

first off: why did you attach a date for when you came up with the stretch goals? all this does is tell me that you potentially sat on launching this campaign for 9 days (launched March 1), which honestly doesn't matter to me but feels unnecessary for me to even wonder whether something was going wrong behind the scenes. just get rid of it, if for some reason you have to update or edit the goals you can make a note then with the date and change you made for transparency.

second: I think it's generally seen to be more effective to hide the majority of your stretch goals until the prior one is reached. this adds mystery and gets people excited dreaming up the "what-ifs". and it stops people like me from judging the feasibility of your numbers up front like this.

also, I do want to point out upfront that stretch goals are not necessarily meant to be seen as a value equivalent for what is being offered. it is an encouragement to get above and beyond and should theoretically be more about raising the overall wages of involved parties with only a small amount pulled aside for the perk.

but let's just go down the list:

"Stretch Goal 1: If we reach €22,500 we will write and perform a digital exclusive livestream of new Among the Stacks content"

so this is something that will happen for only €2,500 additional. which, to be honest, that number feels a bit off for the implied work required, but since "Among the Stacks content" could just mean one more short story, I'm not too concerned with it. just remember that a livestream also requires production work and organization to be done, especially when you are trying to plan around optimal times for your listeners and availability of actors from various timezones. the difference between GMT and PST is 8 hours fyi.

"Stretch Goal 2: If we reach €25,000, we will be able to bring out a small line of Among the Stacks related enamel pins."

yeah no. for a couple reason.

firstly, there is not even a single mockup of what these might look like so why should I care? all of the art we've been shown so far for the show would not translate well to an enamel pin because the level of details is wrong for that scale.

also, what does "a small line" mean? does that mean 3 or 5 or 10? making one pin is a lot of work, let along multiple designs that each have to go through their own proofing phase with the manufacturer.

speaking of.

I didn't really get into the manufacturing thing much when I talked about rewards earlier, but that kind of thing is a real risk. I see and know a lot of pin makers who wind up with more "B and C grade" pins than ones they feel comfortable selling for full price. so what are you going to do if you finish at €25k and there's a manufacturing issue? do you have a contingency built in? have you made selected a possible factory and made blanks with them? are you sure they aren't a scam, because that's also a real problem that goes on with places using photos from other people and then running off with your money. there's a reason this thing is an entire job to wrangle in itself, and at only €2,500 above the prior stretch goal that could be a really slim buffer to work with.

and all of that has to be done for every pin design. this isn't like stickers where you can see a mockup of the die-cut. this is hours of work and communication past just getting a design from your artist.

now, I should point out that this does not say anything about how these will be made available. with no mention about the tiers as part of this, I'm assuming it will not be something added to every tier above a certain level, which is the right choice I think. the implication to me is that this is basically the seed money to then offer it in their website store. this is not something talked about anywhere, so I am potentially making a big assumption there, but I do know they have one already. whatever the case, some people will get the wrong idea about what this goal means because it isn't being specified and maybe think that they will be getting pins in the mail for backing the campaign. clarity is important.

which, also. how much of this is going to pay the artist(s) and will your artists be getting any kind of royalties from sales of this or other store goods? I am full of questions and you aren't answering any of them anywhere.

"Stretch Goal 3: If we reach €50,000, we will be able to create physical books of our scripts featuring notes and commentary."

again, lets talk manufacturing and proofs.

there are a decent number of options for getting a book printed, but that number is cut down when you have specifications involved like "notes and commentary". what this means in practice is probably something like irregular margins to make room for these, the addition of annotations that then must be matched to the proper pages depending on book size (since no way will it be an 8"x11" sheet the way that your google doc scripts are, especially if it's a paperback).

this also means lots of time doing page layouts, checking over the whole book digitally, getting the proof to verify things are right when printed, getting cover art, etc. and which scripts are we talking about for this? prologue season and/or the whole of season 1? in that case, what's the time frame you think that kind of project would take and who is going to paid to do all that work and make sure it includes all the most updated notes and commentary?

speaking of commentary, that sounds like a lot of extra work too since that's not a normal byproduct of making a podcast. whose commentary will it be, Nigel or the writers or a mix of cast and crew?

yes, this is a full €25k above the prior goal, but that is not a lot.

also, again. where will this be available? is it another store good that anyone can buy? how much do you think you'll charge for it on top of this required stretch amount? I'm not necessarily saying you need to answer these questions now, but I need to feel like you have a plan to and I just don't.

"Stretch Goal 4: If we reach €75,000, we will be able to do some physical live shows."

this one is definitely bullshit.

first of all: "SOME"??? what does that even mean except for more than one? honestly with how spread apart some of the cast are in the world, I would be impressed if you could wrangle this amount of money into a single live show.

plus live shows are then further restricting the availability of people to attend, because whether you host it in Ireland where Nigel is from or elsewhere in the UK or Europe or US, there will be a lot of people who are disappointed that you aren't near them. you can livestream them too, but that's another layer of setup and coordination and we all know it's not really the same.

also, as a larger point we need to talk about the ableism of hosting live shows when the pandemic is still happening and killing people. you are excluding your listeners and your cast/crew who don't feel safe to travel to it, let alone be in an enclosed space for 30-60 minutes with people who likely won't be masking.

"Stretch Goal 5: If we reach €100,000, we'll reveal it if we reach Stretch Goal 4"

based on the other goals, I'm already sus what this could be. but the mystery of it is good, they should have done that for more of the goals.

"This is one suggested by Marguerite Kenner as a larger stretch goal, but if we reach €250,000, we can pay everyone involved, down to even one line performances, enough to qualify them for SAG recognition - which requires a person to have receive over £500 paid for work they have done."

this is naïve at best.

right off the bat, let's talk about what SAG is for a second. it stands for the Screen Actors Guild. SCREEN ACTORS.

let me tell you what this makes me think about your project:

you wish you were making a movie, but that's hard to break into so you settled for making a podcast.

podcasts are not for the screen, why are you trying to impress people as though they are. audio storytelling as a medium is an entirely different thing, and the best podcasts out there right now are the ones who are leaning into what makes audio unique. The Goblet Wire, The Moon Crown, and Human B-Gone are all great examples of using the medium for what it is rather than trying to turn it into something it isn't. we have awards in our space if you really care that much, there are some high profile ones too that you can submit for (tho some sure do cost a lot of money to even enter).

this drive by some audio drama creators to chase after tv and movies is a disservice to THIS medium. stop fucking doing it.

putting aside all of that, your project doesn't actually qualify for this.

the phrase "SAG recognition" isn't a real thing from what I can tell, the actual thing I think we're talking about is "SAG eligible".

one of two things needs to happen for a performer to actually be considered eligible:

proof you were employed in a position already covered by a SAG-AFTRA agreement and have worked at least one day in a speaking role

you are a paid-up member of an affiliated performers' union for a year and have worked and been paid for at least once in that union's jurisdiction

so what does that all mean? basically that this goal is pure bullshit.

also worth noting, in order to prove your eligibility to SAG-AFTRA itself, you must submit pay stubs. I don't think Among the Stacks has an official company or business registration that is being used to pay everyone? that means there is also no tax ID, and probably no formal contract which you also need. also I don't know what that looks like for anyone who ISN'T American, which a huge number of them aren't.

that's not even considering the fact that it's an application with them that needs to be approved. being eligible just means you can choose to submit. and they'll probably look at your 1 line in a random independent audio drama and say no anyway.

additionally did you know the base fee for a SAG card is $3000? and then when you have that you will need to report the ~$500 you made on your taxes, which just cuts into your earnings and gets you nothing.

I will say that it is a weirdly noble goal to be able to pay everyone a minimum of €500, even if they have a single line. but completely unnecessary and unreasonable and honestly the money could probably be better spent elsewhere.

but yeah that one made me fucking laugh.

one last more general thing: what will happen if the campaign hits €40k? will that €15k above the prior stretch goal be distributed along the same lines as the "equitable" budget split? will it go towards an emergency fund if your physical goods require more shipping than you thought or the pin manufacturer sends you largely duds?

"Alternative Ways You Can Help"

another section I have literally no problems with. it's always nice to acknowledge that not everyone who wants to support you will be financially able to. audio drama has a listener base that includes some surprisingly young people who may not have spare income, along with people paying for education, between jobs, otherwise financially strapped. especially right now.

I do think it would help these people if you had any links to your social media here though. literally any at all. even just mentioning the @ on twitter would be helpful.

The FAQ

an oft forgotten part of the campaign, the FAQ is actually super important and a great place to put information that didn't really fit anywhere else.

it is not where you should be making your show pitch.

it is for frequently asked questions about the campaign itself.

so let's look at what ATS has done with it. they only put two questions, so this will be quick.

the first question is: "What is Among the Stacks about?"

this should have been the first paragraph of your actual campaign, why is it tucked away here???

the second question is: "I haven't heard Among the Stacks - what podcasts is it similar to?"

again, this is fine information to put near the top of the main campaign page. but it's not a frequently asked question about the campaign itself.

also how have you STILL not linked the podcast feed, I am BAFFLED. also, you list a bunch of inspirations that I probably could have guessed based on your premise and pitch, but without saying anything about why or how you found these things to be impactful in the development of your idea. especially when one of your milestones is to release lists of things that inspired you, why did you include this at all?

so, what is ACTUALLY supposed to go in an FAQ?

the first thing you should talk about if you didn't cover it in the main text is when people should expect the project to start releasing the content. the "estimated shipping" dates that are on tiers are usually not a reflection of that, but more about the goods that are being offered. so it's important that you put somewhere when people should expect to hear the first episode of season 1.

it's also a good place to give people a sense for the scope of the project beyond the campaign, i.e. how many season total are you planning to make.

if you are shipping physical goods for any reward, it can also be helpful to address whether shipping costs have already been factored in or if that will be an additional fee on top of the listed prices.

tell people where to contact you if they have additional campaign specific questions. an email, twitter handle for dms, anything.

there are so many things that can go here for clarifying parts of the campaign, and you can add/edit it as actual ones do start to come in. but it is here to be about the campaign itself, and the questions should reflect that.

are we done yet? almost, I swear.

(I'm dying a little inside right now)

The Catchall

these are small general notes that don't fit anywhere in particular, but stood out to me as weird:

why is a link to the feed not within the first paragraph? on that note, why is there no link ANYWHERE in the campaign??? not to your podcast host or website or even social media. if someone stumbles across your campaign, how do they find you FROM it.

the repeated framing of this show in comparison to queer media that is distributed by larger streaming services (i.e. Netflix and Discovery) is very weird. the scale of those projects and therefore the monetary expectations are different because marketability and capitalism. anyone with a $30 microphone can create a podcast with enough work, this isn't a valuable comparison in the slightest. none of us in this space are pandering, why even draw the comparison as is done in the video.

as an added note to that last point, almost all audio drama is extremely queer, something I love. but it is not something that sets a project apart enough to stress it as much this and other productions do, especially when for many they are using the term to mean "there is a gay relationship" versus "we substantially have queerness as part of our characters and stories in ways that matter to it". both have value, but there is a difference between "this is a podcast about coffee" and "this is a podcast where people sometimes have a cup while chatting about something else"

maybe a petty one, but it's been bothering me: the logo generally looks bad in my opinion, but it looks even worse when blown up on a web page or in a youtube video because it was clearly not made with that kind of resolution in mind. I've had this issue with art I've done in the past and it sucks, but it just doesn't look good when you see those fuzzy edges. especially when the framing device of your whole story is a professional environment like a library, which would have very clean promotional material.

Closing Thoughts

this show feels like a disaster waiting to collapse in on itself. I could write a whole post about just that aspect and all the things that have made me generally suspicious of it, but from the point of view of this review of their campaign? it just feels like asking way too much for so little guarantee it will come together.

I'm not here to try and shit on a project that someone feels passionate about, I think that's a necessary part of making any good creative project and we have a staggering amount of that in the audio drama space. but people can get in over their heads or dream too big to handle if they aren't already prepared and experienced. I've talked with creators who set aside dream projects until they knew it was something they could handle. and there are so many cooks in the kitchen here, the level of coordination required to wrangle a production staff this large is not to be understated. I just don't see this turning out well for anyone involved and I think this kind of money should be spread broader in the community to help fund smaller more varied projects.

especially considering we are already for some reason getting TMA 2 and this feels like it's trying to be TMA 1.5

I really should have made this account back when that campaign was running, because wow did it have some terrible issues too

[cuteniaarts]

Digitalised + coloured + redesigned version of my Suiren and Vaatu sketch from two days ago, as promised!!

Coming up with Suiren’s design was a very long process of trying and failing because after you’ve drawn 9+ different versions of one character, the creativity starts to run a little dry, but I’m actually really proud of this one, she looks absolutely adorable <3

(Also yeah I did mostly just scribble Vaatu’s pattern because who has the energy to draw the all out accurately. Not me, that’s who, I’m chronically tired. People who draw him on the regular have my utmost respect. He’s still a funky little guy though :D)

Bonus, Raava incessantly screaming inside Suiren (and being completely ignored because Suiren is tired of her) while all this is happening:

[welcometoteyvat]

yoimiya 2nd story quest ?!?!?!?!

[falling-hand-in-unlovable-hand]

i wish i hadn't made it into this year's play tbh

[awesamforehead]

Sigh...its very hard to keep a positive attitude about all this

[sapphia]

USA please listen to me: the price of “teaching them a lesson” is too high. take it from New Zealand, who voted our Labour government out in the last election because they weren’t doing exactly what we wanted and got facism instead.

Trans rights are being attacked, public transport has been defunded, tax cuts issued for the wealthy, they've mass-defunded public services, cut and attacked the disability funding model, cut benefits, diverted transport funding to roads, cut all recent public transport subsidies, cancelled massive important infrastructure projects like damns and ferries (we are three ISLANDS), fast tracked mining, oil, and other massive environmentally detrimental projects and gave the power the to approve these projects singularly to three ministers who have been wined and dined by lobbyists of the companies that have put the bids in to approve them while one of the main minister infers he will not prioritise the protection of endangered species like the archeys frog over mining projects that do massive environmental harm. They have attacked indigenous rights in an attempt to negate the Treaty of Waitangi by “redefining it”; as a backup, they are also trying to remove all mentions of the treaty from legislation starting with our Child Protection laws no longer requiring social workers to consider the importance of Maori children’s culture when placing those children; when the Waitangi Tribunal who oversees indigenous matters sought to enquire about this, the Minister for Children blocked their enquiry in a breach of comity that was condemned in a ruling — too late to do anything — by our Supreme Court. They have repealed labour protections around pay and 90 day trials, reversed our smoking ban, cancelled our EV subsidy, cancelled our water infrastructure scheme that would have given Maori iwi a say in water asset management, cancelled our biggest city’s fuel tax, made our treasury and inland revenue departments less accountable, dispensed of our Productivity Commission, begun work on charter schools and military boot camps in an obvious push towards privatisation, cancelled grants for first home buyers, reduced access to emergency housing, allowed no cause evictions, cancelled our Maori health system that would have given Maori control over their own public medical care and funding, cut funding of services like budgeting advice and food banks, cancelled the consumer advocacy council, cancelled our medicine regulations, repealed free prescriptions, deferred multiple hospital builds, failed to deliver on pre-election medical promises, reversed a gun ban created in response to the mosque shootings, brought back three strikes = life sentence policy, increased minimum wage by half the recommended amount, cancelled fair pay for disabled workers, reduced wheelchair services, reversed our oil and gas exploration ban, cancelled our climate emergency fund, cut science research funding including climate research, removed limits on killing sea lions, cut funding for the climate change commission, weakened our methane targets, cancelled Significant National Areas protections, have begun reversing our ban on live exports. Much of this was passed under urgency.

It’s been six months.

[wickershells]

I have complicated feelings on posthumous releases in the best of times but for something to feel so unfinished & un-Sophie as this. it's sad

[angeltism]

doing a final project (website portfolio) for a class you've basically done fuck all in (and therefore are having a VERY hard time remembering and finding your work) is sooo fun actually.

[supportgaza]

From Gaza to Ireland: Out of the Fire of War to the Fire of Soul-Crushing Survival Guilt and Fear for my Family

Note: My main account (@mahmoudkhalafff) was unfortunately terminated by Tumblr for no reason. This is my back up account. Please continue to boost my campaign. We are too close!

At times of peace, having to be away from your family for months and years is a high price you pay for obtaining an academic degree or securing a better job. Imagine while you are away, they were trapped in a besieged strip of land and thousands of missiles rained down on that besieged area of 360 km² around the clock for almost 11 months. That would crush every cell of your mind and drive you crazy, wouldn't it?!

Imagine suddenly getting addicted to watching the news and the gory videos and pictures all the freaking time. You follow relevant social media pages that only show images, videos, and stories of entire families that were wiped out in an instant in an airstrike and deemed as collateral insignificant damage. While plunging deeper and deeper into an unprecedented state of acute depression, I wondered: how come all my suffering from displacement, fear, and hunger in Gaza for 5 months during the war before being evacuated to Ireland is nothing but a drop compared to my ocean of suffering now?

The constant thinking of my family in Gaza during the genocide and all the potential scenarios is consuming my sanity and mental health at a time in my life and a place where I am required to be 199% focused and productive. To give you a glimpse of my horrible psychological suffering these days: I fear going to sleep because I know horrible horrible nightmares are waiting for me on the other side. Some have to do with the horrors of wars I witnessed in Gaza myself and others relate to the horrible potential scenarios I keep thinking about.

Seeing the images and pictures of Gaza makes you think a thousand earthquakes hit every neighborhood of the Gaza Strip! Nothing and no one has been spared. The horrific war has turned the place into a hell on earth, unfortunately. How can young people have any hope for a better future seeing the mass destruction and the relentless Israeli efforts to stifle Gaza and squeeze hope out of its people as a form of collective punishment. How monstrous and heartless!!!

Amid all this chaos and madness, my number one priority and focus is evacuating my family to Egypt as a first step and hopefully reuniting with them in Ireland at a later stage.

Please do consider helping me save my family by donating, reblogging, and sharing.

Note: Vetted by:

1. @el-shab-hussein and @nabulsi # 151 on the spreadsheet of Vetted Gaza Fundraisers List]

2. @riding-with-the-wild-hunt Here .

Tagging for reach <3

@riding-with-the-wild-hunt @ibtisams @vakarians-babe @90-ghost @sayruq @fairuzfan @sar-soor @fallahifag

@el-shab-hussein @taamarrud @humanvoicebox

@plomegranate @queerstudiesnatural @commissions4aid-international @nabulsi @stil-lindigo @soon-palestine @communistchilchuck @palestinegenocide @northgazaupdates2 @northgazaupdates @ghost-and-a-half @kyra45-helping-others @kyra45 @commissions4aid-international @feluka @appsa

[mostlysignssomeportents]

The one weird monopoly trick that gave us Walmart and Amazon and killed Main Street

I'm coming to BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

Walmart didn't just happen. The rise of Walmart – and Amazon, its online successor – was the result of a specific policy choice, the decision by the Reagan administration not to enforce a key antitrust law. Walmart may have been founded by Sam Walton, but its success (and the demise of the American Main Street) are down to Reaganomics.

The law that Reagan neutered? The Robinson-Patman Act, a very boring-sounding law that makes it illegal for powerful companies (like Walmart) to demand preferential pricing from their suppliers (farmers, packaged goods makers, meat producers, etc). The idea here is straightforward. A company like Walmart is a powerful buyer (a "monopsonist" – compare with "monopolist," a powerful seller). That means that they can demand deep discounts from suppliers. Smaller stores – the mom and pop store on your Main Street – don't have the clout to demand those discounts. Worse, because those buyers are weak, the sellers – packaged goods companies, agribusiness cartels, Big Meat – can actually charge them more to make up for the losses they're taking in selling below cost to Walmart.

Reagan ordered his antitrust cops to stop enforcing Robinson-Patman, which was a huge giveaway to big business. Of course, that's not how Reagan framed it: He called Robinson-Patman a declaration of "war on low prices," because it prevented big companies from using their buying power to squeeze huge discounts. Reagan's court sorcerers/economists asserted that if Walmart could get goods at lower prices, they would sell goods at lower prices.

Which was true…up to a point. Because preferential discounting (offering better discounts to bigger customers) creates a structural advantage over smaller businesses, it meant that big box stores would eventually eliminate virtually all of their smaller competitors. That's exactly what happened: downtowns withered, suburban big boxes grew. Spending that would have formerly stayed in the community was whisked away to corporate headquarters. These corporate HQs were inevitably located in "onshore-offshore" tax haven states, meaning they were barely taxed at the state level. That left plenty of money in these big companies' coffers to spend on funny accountants who'd help them avoid federal taxes, too. That's another structural advantage the big box stores had over the mom-and-pops: not only did they get their inventory at below-cost discounts, they didn't have to pay tax on the profits, either.

MBA programs actually teach this as a strategy to pursue: they usually refer to Amazon's "flywheel" where lower prices bring in more customers which allows them to demand even lower prices:

https://www.youtube.com/watch?v=BaSwWYemLek

You might have heard about rural and inner-city "food deserts," where all the independent grocery stores have shuttered, leaving behind nothing but dollar stores? These are the direct product of the decision not to enforce Robinson-Patman. Dollar stores target working class neighborhoods with functional, beloved local grocers. They open multiple dollar stores nearby (nearly all the dollar stores you see are owned by one of two conglomerates, no matter what the sign over the door says). They price goods below cost and pay for high levels of staffing, draining business off the community grocery store until it collapses. Then, all the dollar stores except one close and the remaining store fires most of its staff (working at a dollar store is incredibly dangerous, thanks to low staffing levels that make them easy targets for armed robbers). Then, they jack up prices, selling goods in "cheater" sizes that are smaller than the normal retail packaging, and which are only made available to large dollar store conglomerates:

https://pluralistic.net/2023/03/27/walmarts-jackals/#cheater-sizes

Writing in The American Prospect, Max M Miller and Bryce Tuttle1 – a current and a former staffer for FTC Commissioner Alvaro Bedoya – write about the long shadow cast by Reagan's decision to put Robinson-Patman in mothballs:

https://prospect.org/economy/2024-08-13-stopping-excessive-market-power-monopoly/

They tell the story of Robinson-Patman's origins in 1936, when A&P was using preferential discounts to destroy the independent grocery sector and endanger the American food system. A&P didn't just demand preferential discounts from its suppliers; it also charged them a fortune to be displayed on its shelves, an early version of Amazon's $38b/year payola system:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

They point out that Robinson-Patman didn't really need to be enacted; America already had an antitrust law that banned this conduct: section 2 of the the Clayton Act, which was passed in 1914. But for decades, the US courts refused to interpret the Clayton Act according to its plain meaning, with judges tying themselves in knots to insist that the law couldn't possibly mean what it said. Robinson-Patman was one of a series of antitrust laws that Congress passed in a bid to explain in words so small even federal judges could understand them that the purpose of American antitrust law was to keep corporations weak:

https://pluralistic.net/2023/04/14/aiming-at-dollars/#not-men

Both the Clayton Act and Robinson-Patman reject the argument that it's OK to let monopolies form and come to dominate critical sectors of the American economy based on the theoretical possibility that this will lead to lower prices. They reject this idea first as a legal matter. We don't let giant corporations victimize small businesses and their suppliers just because that might help someone else.

Beyond this, there's the realpolitik of monopoly. Yes, companies could pass lower costs on to customers, but will they? Look at Amazon: the company takes $0.45-$0.51 out of every dollar that its sellers earn, and requires them to offer their lowest price on Amazon. No one has a 45-51% margin, so every seller jacks up their prices on Amazon, but you don't notice it, because Amazon forces them to jack up prices everywhere else:

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

The Robinson-Patman Act did important work, and its absence led to many of the horribles we're living through today. This week on his Peoples & Things podcast, Lee Vinsel talked with Benjamin Waterhouse about his new book, One Day I’ll Work for Myself: The Dream and Delusion That Conquered America:

https://athenaeum.vt.domains/peoplesandthings/2024/08/12/78-benjamin-c-waterhouse-on-one-day-ill-work-for-myself-the-dream-and-delusion-that-conquered-america/

Towards the end of the discussion, Vinsel and Waterhouse turn to Robinson-Patman, its author, Wright Patman, and the politics of small business in America. They point out – correctly – that Wright Patman was something of a creep, a "Dixiecrat" (southern Democrat) who was either an ideological segregationist or someone who didn't mind supporting segregation irrespective of his beliefs.

That's a valid critique of Wright Patman, but it's got little bearing on the substance and history of the law that bears his name, the Robinson-Patman Act. Vinsel and Waterhouse get into that as well, and while they made some good points that I wholeheartedly agreed with, I fiercely disagree with the conclusion they drew from these points.

Vinsel and Waterhouse point out (again, correctly) that small businesses have a long history of supporting reactionary causes and attacking workers' rights – associations of small businesses, small women-owned business, and small minority-owned businesses were all in on opposition to minimum wages and other key labor causes.

But while this is all true, that doesn't make Robinson-Patman a reactionary law, or bad for workers. The point of protecting small businesses from the predatory practices of large firms is to maintain an American economy where business can't trump workers or government. Large companies are literally ungovernable: they have gigantic war-chests they can spend lobbying governments and corrupting the political process, and concentrated sectors find it comparatively easy to come together to decide on a single lobbying position and then make it reality.

As Vinsel and Waterhouse discuss, US big business has traditionally hated small business. They recount a notorious and telling anaecdote about the editor of the Chamber of Commerce magazine asking his boss if he could include coverage of small businesses, given the many small business owners who belonged to the Chamber, only to be told, "Over my dead body." Why did – why does – big business hate small business so much? Because small businesses wreck the game. If they are included in hearings, notices of inquiry, or just given a vote on what the Chamber of Commerce will lobby for with their membership dollars, they will ask for things that break with the big business lobbying consensus.

That's why we should like small business. Not because small business owners are incapable of being petty tyrants, but because whatever else, they will be petty. They won't be able to hire million-dollar-a-month union-busting law-firms, they won't be able to bribe Congress to pass favorable laws, they can't capture their regulators with juicy offers of sweet jobs after their government service ends.

Vinsel and Waterhouse point out that many large firms emerged during the era in which Robinson-Patman was in force, but that misunderstands the purpose of Robinson-Patman: it wasn't designed to prevent any large businesses from emerging. There are some capital-intensive sectors (say, chip fabrication) where the minimum size for doing anything is pretty damned big.

As Miller and Tuttle write:

The goal of RPA was not to create a permanent Jeffersonian agrarian republic of exclusively small businesses. It was to preserve a diverse economy of big and small businesses. Congress recognized that the needs of communities and people—whether in their role as consumers, business owners, or workers—are varied and diverse. A handful of large chains would never be able to meet all those needs in every community, especially if they are granted pricing power.

The fight against monopoly is only secondarily a fight between small businesses and giant ones. It's foundationally a fight about whether corporations should have so much power that they are too big to fail, too big to jail, and too big to care.

Community voting for SXSW is live! If you wanna hear RIDA QADRI and me talk about how GIG WORKERS can DISENSHITTIFY their jobs with INTEROPERABILITY, VOTE FOR THIS ONE!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/08/14/the-price-is-wright/#enforcement-priorities

[whencartoonsruletheworld]

funniest disney history facts i can think of atm

literally EVERYBODY thought the lion king was gonna flop and pocahontas would be their greatest movie ever made. people begged to ditch lion king and work on pocahontas.

the reason robin hood ends so abruptly is that there was an actual ending planned and storyboarded but the crew spent too long arguing about everyone’s fursonas to finish animating it

madam mim was way less comedic in the original book but because her character was too similar to maleficent (who was in their latest film at the time), the sword and the stone crew decided to differentiate her by making her fucking hilarious

when making a goofy movie, jeffrey katzenberg (studio chairman at the time) told bill farmer to give goofy “a normal voice.” farmer, who had been voicing goofy for eight years at that point, including in the goof troop show that a goofy movie was a sequel to, was very confused. after making an attempt they decided to scrap that note completely.

as of march 2023, farmer is still voicing goofy, and tony anselmo has been voicing donald since 1986. the 2017 reboot of ducktales, which was slated as “wanting to do for donald what goofy movie did for goofy,” featured both actors as those characters; they had also been doing the voices for the original ducktales and goof troop/goofy movie. all the times goofy and donald interact in the 2017 ducktales however, donald was voiced by guest star don cheadle as a joke

current voice of mickey mouse bret iwan has stated that he has attempted to play kingdom hearts and did not do well

disneyland’s current world of color halloween overlay features a plot that is basically “the disney villains simultaneously adopt a goth kid” and i love it

people will make jokes about “well math says that the beast would’ve been 11 when he was cursed” well that was actually the original intent, but a flashback scene of baby beast was scrapped because he looked “too much like eddie munster”

when disney sent a representative to pixar to check on toy story production, she was like “this is all great! what style of music are you thinking” and they were like “for what” “for the songs” “we uh. we weren’t gonna have. any songs” and she went dead silent and then went “i have to make a call” and left the room

saludos amigos and the three caballeros were made as ww2 propaganda. the government commissioned disney to make movies to make latin america like them so that they wouldnt side with the nazis and provide them an in to invade, and latin america really liked donald duck so

saludos amigos was apparently the first time many usamericans realized that latin american people were like. people. film historian alfred charles richard jr said that the film “did more to cement a community of interest between peoples of the americas in a few months than the state department had in fifty years”

while latin america generally liked both films, chilean cartoonist rené rios boettiger fucking hated the chilean segment of saludos amigos, seeing the main character of pedro the plane as a weakass bitch, so in response he created condorito, the most popular comic character in all of latin america

disney wanted to adapt ts eliot’s old possum’s book of practical cats. his widow adamantly refused, and then sold the rights to andrew lloyd webber bc he wanted to make it sexy and she said “tom would’ve liked that”

in case you haven’t seen the defunctland, walt disney wanted epcot to be a futuristic utopia where he was basically the dictator. then he died so they just made it another theme park

speaking of defunctland the first defunctland video was on disneyworld’s alien attraction and please watch it. please it’s so funny

after the huge failure of the black cauldron disney was going to shut down its animation department. the department tried to convince them to keep them alive by showing them the one scene they had finished for the next movie– the mouse burlesque from the great mouse detective. it worked

the only attraction the black cauldron ever got was in tokyo disneyland where they put a tour under cinderella’s castle where everyone had to escape the disney villains trying to kill them, only to end at the horned king and the cauldron, who would try to sacrifice them to satan. this tour was popular but was closed in the early 2000s as the tunnels didn’t fit earthquake regulations and i want it in disneyworld so bad

walt disney once referred to his unionizing workers, led by goofy’s creator art babbitt, as “commie sons of bitches,” and i want a mickey build-a-bear that calls me a commie son-of-a-bitch whenever i squeeze its paw

[pippin-pippout]

For those following the SAG and WGA strikes there’s new shit a-brewing, this time targeting background actors (aka extras).

Some may know that one of the issues SAG is fighting is that studios want to take virtual scans of background actors and use them in perpetuity (meaning forever) without any additional compensation to those background actors. So you would just see a bunch of AI generated humans in future movies based off of a background actor that worked one day.

This is already shitty because working as an extra for 3 days on a union set (if you receive a union voucher each day) is one of the main ways to qualify for SAG eligibility. This means that a lot of actors working background do not yet have union protection and likely do not have an agent or manager to protect them. Disney has already allegedly told background actors to do this on the set of Wanda Vision: https://www.avclub.com/wandavision-background-actors-say-disney-scanned-them-1850709900

Here’s where it's worse.

There is one main company that supplies background actors for major union and non union productions. Central Casting. They love to brag about their very long influence in the industry - in old movies dating back to the 40s you can hear jokes about hiring extras from Central Casting.

Central Casting has been including an electronic document for all actors in their database to sign as part of onboarding. Signing it gives Central Casting the right to use your images, your videos, and YOUR LIKENESS in perpetuity, forever. They would OWN your likeness. Instead of it being a studio supplying the AI background actors, it would be Central Casting instead.

Receiving any work from Central Casting in the future is conditional upon signing it. No signature = no extra work = no extra income for union actors trying to make health insurance minimums, no union extra work for pre-SAG members.

SAG already reached out to Central Casting to tell them to stop. Central Casting refused.

Edit to say: this is not new. It’s part of actors onboarding and is called the Photo, Image, and Video Release. It’s phrased to sound like you are just giving them permission to use your image and video for CC’s website and promotional purposes. But the actual language is much broader. It's only recently being brought up as a point for discussion because some casting directors (who are generally supportive of the strike) started pointing it out.

Central Casting is owned by Entertainment Partners which is also a giant software conglomerate and owns a lot of the software used to organize background casting and pay actors. https://www.ep.com/company/about-us/

[sunniepoo]

I NEED more of the obx/reader love islane PLEEK 😭😭😭 jj next pls pls pls

love island!jj

jj is an og boy through and through, i have no clue why but something about him screams being in the original line up. the public love him from the moment he comes on, from his looks to his personality he already becomes a bit of a fan favourite

i feel like you would also be in the original line up however you wouldn’t be coupled together, i think it’d be a situation where the public chooses who should go together and honestly he’s gutted. his eyeballs nearly popped out when he saw you and in his head he’s praying that the public chose you to be with him but to his dismay it was not the case

but that doesn’t stop either of you, it was easy to fall for him with his jokey, playful manor but still that masculine presence that follows him - i think the moment where the two of you’d click is when your playing a game around the fire pit and you mention something about the ocean or surfing and it just clicks for him that he needs to get you in his bed as soon as possible

i think it’s only a matter of time before he’s pulling you for chats and slowly flirting his way into your heart, during one of the first recouplings he picks you and honestly that’s only the beginning for the two of you, it’s really sweet and romantic from there on and you become a public favourite quite quickly (sort of like lana and ron s9)

the main major stump between the two of you is when bombshells come in and neither of you have communicated well about that situation so when you see him cracking on with another girl that’s not you, it genuinely shatters your heart into a million

i feel like we see this in obx and i can see it translate into this very well is jj’s fear of intimacy and closeness, for him he could care less about the bombshell but it’s the idea that you and him have been getting so close it’s causing him to freak out and that’s how he finds himself flirting with someone’s name he can barely remember

and before he can even explain himself or even talk to you, everyone’s gathering around the fire pit and he’s being chosen leaving you single - he couldn’t hate himself more in that moment because the idea of you going home genuinely makes him want to leave with you but production comes through and you’re being sent on a date ( really pulling a mimii on this one s11)

following that it’s just a bit of back and forth of arguing and getting back at each other before he sits you down and just breaks, he starts pouring his heart out and you start to realise that whatever anger you have is not worth it

not to say it doesn’t cause a stump in your relationship but your connection with him is stronger than the anger you have. truly once you guys get over that it’s so so sweet and heartwarming

you’d 100% be the very loud, active couple like everyone else is complaining at how your going at it and he genuinely has no shame and doesn’t care - he’s eating you out under those covers with no shame

you guys going to the hideaway would go so viral just cause of how fucked out you look after (lowk like in love island usa when kenny and jaNa came out) hair is a mess and everyone is making memes about how he gives it good

casa amour is such a realisation for him at how much he needs you to keep his mood up because for the first time he is just so out of it and it’s solely because he misses you - the casa recoupling is so cute because you literally run to him and he’s looking at you so in love

like i said casa is such a realisation for him that it doesn’t take long for him to make you his girlfriend and drop the l bomb and if people though you were loud before, god were they not prepared

people have been rooting for you since like day one, when they saw his face when you’d strutted in so it was a very clear and obvious win, and all hell breaks loose when you announce your first kid a couple years later and all you can think is how this started from a silly show you went on for fun

[saetoru]

✩ ‧₊˚ ✩。TANGLED — GETO SUGURU.

contents. just suguru needing his hair brushed for him bc he’s def so me and gets mad over the knots lol—alternative title: princess suguru and his frog <3

suguru huffs in front of your mirror—and it’s quite the frustrated huff, too—before he slams the hair brush down.

you raise a brow, “you okay over there?”

“no. ‘s knotted,” he mutters, referring to his hair. there’s a quiet grumbling of something unintelligible under his breath before he glares at himself in the mirror.

suguru loves his hair—anyone would know that just by looking at him. most guys use two-in-one shampoo (like satoru) but suguru? he practically hogs your shower space with all of the products he owns. his hair is well maintained and perfectly neat every time you see him. but sometimes, like now, it’s also a pain to brush once it’s knotted. and, well, he doesn’t handle it very well.

“you’ve been brushing for—” you pretend to check your bare wrist for the time, “—like ten minutes,” you giggle.

“very funny,” he grunts bitterly. and then, more petulantly this time, “i’m cutting it off for real this time.”

“you said that last time,” you remind him, eyes glinting with amusement.

“this time i mean it.”

“no you don’t, sugu.”

“i do,” he insists, glaring at you through the mirror, “it’s getting too long, and i don’t have the time to brush all these damn knots every two hours. so, it’s getting cut.”

“okay,” you nod casually—anyone can tell you don’t believe him.

his expression sours. suguru gets in very bad moods when his hair doesn’t cooperate, it’s evident in the way he flares his nostrils and scowls.

“you still don’t believe me? i’m being serious.”

“okay, baby,” you snort, finally deciding to take matters into your own hands as you rise from your bed and walk over. you stand behind him, reaching around him for the hair brush before gently pulling him back to stand closer. “i’ll get it for you, don’t worry. wouldn’t want your princess hair gone.”

“stop calling it that,” he groans, but the tension leaves his shoulders as soon as you gently brush through his strands, starting at the bottom and working your way up. it’s quiet for a bit—nothing but the soft sound of your humming as you work through the tangles in his long (perfect) hair.

“you could’ve just asked if you wanted me to brush it,” you tease after a few moments, “no need to throw a tantrum.”

“glad to see you’re enjoying this,” he rolls his eyes. and then, when you’ve finished and set the brush down, he turns to face you, wrapping his arms around your waist as his face finds the crook of your neck.

you hum, pecking the side of his head before threading your fingers into his dark locks, stroking through the soft strands and silently marveling at the length.

“you’re so pretty, suguru,” you murmur, “did’ya know that?”

“oh yeah?” he chuckles into your skin, lips curling into a loose smile. his arms tighten around you, pulling you impossibly closer.

“yeah,” you nod, “like a princess. my prettiest princess.”

“i thought i told you to quit with that,” he says exasperatedly—you can feel the heat from his cheeks, and you grin to yourself knowing he’s blushing as he hides his face deeper into your shoulder.

“it’s true,” you insist, “i’m no liar. i’m a truther.”

“debatable,” he mumbles. you smack his shoulder playfully, and he squeezes your hips in response. “aren’t you going to tie it for me too?” he finally asks, and you’re sure there’s a pout curled on those lips of his. you ache to kiss them—and you will, just not right now.

right now, you’ll stay like this a bit longer.

“this is real princess treatment,” you sigh dramatically, “yes your highness. i’ll tie it too.”

“thank you,” he says, thoroughly satisfied. and then, quieter, like it’s a secret only you’re supposed to know, “i love you.”

“i love you too,” you happily murmur, “but that might change if you cut your hair.”

“are you only dating me for my hair?”

“yes,” you snicker playfully, “it’s the main appeal. the princess appeal.”

“you know what,” suguru says thoughtfully, “i’ll be your princess.”

“really?” you gasp in excitement, making him nod into your neck as he presses a delicate kiss to your skin.

“sure,” he grins slyly, “and you can be the frog.”

the moment is officially ruined—and for a second, you think you might just have to cut his hair off in his sleep after that one.

come join me in the most self indulgent drabble once again. also the title being tangled even tho the reference is the princess and the frog is a tad bit funny to me jdjsjd i did giggle i can’t lie