#and there's a lot of shitty ones i think its literally a disservice to say thg is the worst

[barnbridges]

my favorite video on al gore's internet was the one saying that the most superior literary dystopia was aldous huxley's brave new world and the worst was the hunger games, with no real understanding of the context either novel came from and that brave new world is literally plagiarized but ok.

[genderqueerdykes]

One of my friends who previously identified as gay is now in the process of realizing it's bisexual, and honestly I'm proud of it for being open to changing labels when it realizes something new. However, some of its other friends have made jokes about how it's "regressing" or how it's "letting the comphet get to it" which, as a bi person myself, is kind of making me side-eye them a bit. I'm honestly so tired of bisexuality being treated as "less queer" than being gay.

i really, really am, too, you're not alone in this.

first of all, i'm so sorry your friends are saying that, because that is literal queerphobia. like i'm sick of this too, because this is exactly what kept me from identifying as bisexual even though i knew i was. i was forced to identify as gay because if i didn't, people around me would call me straight. there was literally a period in time where i was dating a man and woman at the same time and people still would call me straight whenever it benefitted them

i haaaaaaaaaaaaaaaaaate when people use "comphet" when talking about bisexuals. comphet is a difficult subject and it has a lot very questionable talking points. generally, i see compulsive heterosexuality as what people do before they realize they're queer, while they're questioning, if they're in denial, or if they live somewhere where they just can't come out as queer so they force themselves to be straight. like that's not what comphet is or means

people have to get over themselves and accept that all modes of attraction a bisexual experiences is queer. unless someone explicity considers their bisexuality to be half gay/queer, half straight... it's best to recognize that all of their modes of attraction are queer. a bisexual man attracted to women is experiencing queer attraction. they are bisexual. unless this is explicitly how they state so, they are experiencing bisexual, not heterosexual attraction toward women.

bisexual women experience queer attraction to men. they experience bisexual attraction toward men. unless explicitly stated that they personally see that attraction as straight, it's queer. it's inherently queer because it is a bisexual person experiencing it. i don't understand why it's so hard for people to wrap their heads around.

i'm not suddenly straight because im a man who's attracted to both women and men. i'm not suddenly straight because i'm a woman who's attracted to both men and women. this is literally queer attraction, i'm experiencing multiple modes of attraction at once. "straight" attraction doesn't "cancel out" gay attraction. they exist alongside one another. they're both happening at once. you can't take 1 experience out of BIsexuality and focus on it. there are TWO OR MORE experiences happening, all at once. isolating one of them is a disservice to the bisexual.

bisexuality is queer. always. 100% of the time, unless defined otherwise. bisexuality challenges the binary of cisheternormative society by saying that gender doesn't matter when it comes to attraction. we show that the line between queer and straight isn't as defined as people think it is. we show that being attracted to any variety of genders can be queer. bisexual people completely break the "straight/gay" attraction binary, and if that scares you, get out of our way, because we're not leaving.

if it's genuinely scary to people that bisexual people literally challenge the straight/gay attraction binary... why are they here? wouldn't you be much more comfortable in the cisheteronormative society you love to suck up to? like genuine question there. if people breaking boundaries threatens you, why are you even here?

i hope things get better for it, and yourself. that's just so shitty of your friends. they need to care about biphobia, because they're making it harder on your friend to accept itself, and that's not what queer community is about. we don't do that here.

[raytorosaurus]

Has literally anyone in the band ever said they dont like danger days?? I've seen some gatekeepers getting on their high horse about how they only played one dd song last night and how the "posers must be fuming" and one specific person tried to argue that the members don't like it. But I physically can't find any evidence of it beyond the tour being a generally shitty time for them?? If anything theres more evidence that they DO like it? Sorry if this is weird or pointless but I can't tell if this person has actual proof or are just pulling shit out of their ass because they don't like danger days lol

UGH. im on mobile rn so im not gonna link to specific interviews but they all love the album and talked a lot about how proud they were of it when it came out, and how writing it was actually a very fun and harmonious process. it was controversial in the fan base at the time of its release (partly because of the major aesthetic change the band underwent, partly bc it was pretty heavily advertised in a way some fans felt was disingenuous i guess) and it undersold the black parade, and then their world tour following it also didn't sell as well as expected. they even ran out of money to make the third mv they'd planned in the na na na/sing universe, so compared to the black parade it was technically a commercial failure. in hindsight, gerard especially has said that tour was a very bad time mentally. it was certainly hard for both him and frank to be away from their children. but they were never anything but proud of the album itself and made that clear in interviews. the only vague negativity from the band i can think of was when frank did a lengthy interview for...i believe ap? in late 2020, where he spoke about his whole career, and touched on the breakup of the band. he mentioned being disappointed that they didn't end up releasing the conventional weapons songs and said he thought in hindsight they should have worked on danger days for a little longer because some of the songs as they are feel slightly incomplete to him, and that was one of his only regrets relating to my chem. The ONLY other thing is an offhanded comment their producer, rob cavallo, made when speculating potential reasons for the breakup, when he said that maybe in hindsight he thought frank was struggling to find parts to play on danger days. but frank himself never confirmed that (he actually made a point of saying there was no tension between him and ray during dd), and in my opinion his guitar parts are much more interesting and less sparse on most danger days songs than they are on most conventional weapons songs, so i'd take it with a grain of salt. i think the gritty simplicity of cw is just kind of more to frank's taste than the more instrumentally conceptual sound of dd, so offhanded comments he's made about that have stuck in people's minds as negativity towards the album maybe.

i for one am very grateful we got to hear conventional weapons in the end because some of those songs are up there among my very favourite mcr songs, but im inclined to agree with what the band said over and over again at the time that scrapping cw as an album to release danger days instead was definitely the right choice. it sounds cliche to say but it was definitely a bit ahead of its time. if my chem had come back from the hiatus with an album that was just a collection of really good songs, and not an actual event with a concept and aesthetic and clear thematic thread, i think it would have been a disservice to the band's core mission statement, which was always to be subversive and unexpected, and to lean into the weird and take the risk even if it meant being misunderstood. conventional weapons is great, and it even kind of addresses some themes similar to danger days (dissolusionment with the state of the music industry, life in that side of LA etc) but it does it without any of the grandiose metaphor and pageantry and uniting aesthetic that's gerard's biggest strength and a huge appeal of the band, yk? anyway. it's fine to not love danger days of course, everyone has their opinions, but it annoys me to see people putting words in the band's mouth. "that was a bad time in our lives" =/= "we don't like that album we created together." also they've played sooo much dd at other shows...you don't see anyone going around saying they hate bullets when they've played entire shows this tour with zero bullets songs on them 🙄🙄

[musclesandhammering]

Every Single Issue I Have With S*lki (It’s Not Just The Selfcest)

Here goes. I threatened to post this a few days ago and never did, but I just saw a s*lki stan Twitter account claim that Loki caring about Sylvie more than the whole multiverse was a Good And Romantic thing and it pushed me over the fucking edge, so now you all have to read this. I’ve divided it into categories cause there’s just THAT much.

OOC Bullshit

• First and foremost, no amount of mental gymnastics you do will ever make me believe that this specific Loki- the one that just invaded New York, that just came off a year of Thanos Torture, that just got done being influenced by the sceptre, that was literally in the middle of a crisis already, and then on top of that went through all the trauma of Ep 1- would even be worried about a romantic relationship. That would be the furthest thing from his mind. Go back and watch how he acted in Avengers- you think that guy would abandon his previous mission to become a snivelling simp for a girl he’d just met 3 days prior? Yeah, there’s no universe in which that makes sense.

• “It’s very in character for Loki to fall in love with himself lololol-“ NO, it’s literally not. Out of all the characters in the mcu, I don’t think I can think of anyone that genuinely hates themselves more than Loki. He even referred to all his other male variants as “monsters” and said meeting them was “a nightmare” in this series. He’s got so much self-loathing, plus the fact that he genuinely thinks himself to be an evil backstabbing scourge- so there’s no evidence at all suggesting that he would ever develop a fondness for, or even be inclined to trust, another version of himself, after only knowing them for 3 days.

• Building on that, the whole concept of Loki falling in love with a version of himself just feeds into the annoying ass misconception that he’s a narcissist. No matter which way you stack it, he’s not. If you’re referring to NPD, he doesn’t fit the criteria, and if you’re saying “narcissist” just as a slang term meaning “selfish and arrogant”, that still doesn’t accurately describe him. But when creators like Waldron and Herron do things like having him fall in love with himself, it makes it so much easier for casual viewers to think that he is.

Shitty LGBT Rep

• It’s kinda sus that Loki’s are allegedly genderfluid and yet the only female-presenting variant we see (and apparently the only female-presenting variant there is, cause the male Loki’s all seemed unfamiliar with the concept) is treated as some kind of mind-bogglingly special paradox. Also very sus that, out of all the Loki variants, the one our Loki falls in love with just so happens to be the only female one. What a coincidence.

• The fact that the creators of the show went around bragging about Loki’s bisexuality and Marvel purposefully (lbr) allowed stories about Loki possibly having a male love interest to circulate, specifically enticing queer viewers to watch the show (you know, the definition of queerbaiting), and then instead of having a male love interest (Loki was the first queer main character, so it was the perfect opportunity) they gave us *gestures to this dumpster fire* this… it’s just a middle finger to LGBT fans. The fact that they would rather have this relationship with all its myriad of problems than have a gay relationship is just……. Very telling.

• While him being with a woman obviously doesn’t refute his bisexuality, the fact that they showed/talked about him being interested in 3 different women (flight attendant, Sylvie, Sif) and never even hinted at him being attracted to a man, definitely makes it seem like they were trying to cover up his bisexuality to smooth things over with the more homophobic viewers. You know? It’s like “I know you’re pissed that we sorta confirmed Loki as bi, so we promise we’ll never mention it again! Or even hint at it! As a matter of fact, we’ll give him lots of female lovies and make him seem as straight as possible! That’ll take your mind off of that horrible crumb of queer rep, right? Please please please keep giving us your money!!!”

• Aside from all the other issues, at its core, the biggest reason why I think I’m so irritated with s*lki is that it took one of the most interesting, complex, and diverse characters in cinema atm and squished him into a tired ass unnecessary heteronormative subplot…. Like literally every. single. other. protagonist. ever. Loki is such a unique character, and it’s so so so incredibly disappointing that they stuck him into that same boring cookie cutter romance that happens to every other character in every other movie I’ve ever seen. It’s a disservice, and it’s honestly just not compelling or entertaining at all.

Thematic Issues Galore

• His arc didn’t need a romance. With anyone. It was unnecessary and it didn’t make sense plot-wise. In fact, one of the reasons he was my fav prior to this was because he was the only big-name mcu character whose story wasn’t muddied-up by a romance that didn’t need to be there. So much for that.

• He wasn’t emotionally ready for a romantic relationship with anyone. Hell, just a genuine friendship would’ve been pushing it for him at this point. He was in such a bad state that any relationship he got into would’ve been toxic and unhealthy for both him and the other person, and it doesn’t make sense why the writers would want to put him in one when there were so many cons and essentially no pros (other than “Uwu aren’t they cute together”).

• Sylvie’s character in general was unnecessary and Loki’s character was robbed just by her being there. The whole show became about her post-Ep 2. They spent most of the time giving her backstory, building her up, telling us how awesome she is, trying to convince us to like her, etc when what they really needed to be doing was building Loki up- cause I gotta say, if I had to describe TVA!Loki in a few words, they would be Flat, Boring, and Weak.

• The romance overtakes the plot. They spend time portraying their supposed connection that could’ve been spent adding depth and complexity to literally any of the characters. They make the big Nexus Event them giving each other googly eyes on Lamentis when it could’ve been so many other way more profound things that speak to the fundamental nature of Loki’s. They have the climax of the finale be “oh no she betrayed him to kill He Who Remains” when it could’ve been something way more compelling (Loki having a moral crisis over whether or not to kill HWR, Loki contemplating the state of the multiverse and weighing the pros and cons of freedom vs order, Loki looking into some What If situations and getting emotional about what could’ve been regarding his family, Loki realising the gravity of HWR’s offer and finally coming to terms with how important he is to the universal cycle, etc etc). The entire plot suffered in favour of a romance that half of us didn’t even want.

• It essentially reduced all of Loki’s potential character growth down to “He did it for his crush.” He seemed to at least have some motivations of his own in Ep 1-2 (feeble as they were) but after Sylvie showed up in Ep 3, literally every action he took was just him being a simp for her. Why did he lie in the interrogation? To try to protect Sylvie. Why did he fight the minutemen and Timekeepers? To survive kinda, but mostly cause it was important to Sylvie. Why did he get pruned? Cause he got distracted trying to confess his crush to Sylvie. Why did he try to get out of The Void? Cause he thought Sylvie needed him. Why did he stay in The Void? Cause Sylvie was staying. Why did he try to enchant Alioth? Cause Sylvie told him to. Why did the multiverse get cracked open, leading to an infinite number of Kangs waging war on all of existence? Cause Loki didn’t wanna hurt Sylvie in their fight at the Citadel and then get distracted by her kissing him. It’s uninteresting and honestly pretty embarrassing.

• Throughout their “relationship arc” the writers do their absolute damndest to convince us that we should like Sylvie more than Loki. And you know what? It’s the most hypocritical shit I’ve ever seen. They preach and preach about how Sylvie’s life has been so difficult/we should feel bad for her/she had it so bad/poor poor sylvie/she had it SO much worse than pampered prince Loki…. But then they never even touch on any of Loki’s trauma of hardships (the ones that have been ignored for literally 3 movies now). They frame Sylvie as a good person and a Freedom Fighter after she spent literal decades/centuries mass-murdering brainwashed TVA agents and showing exactly zero remorse for it….. but then they make it their mission to constantly remind us that Loki is a terrible person and constantly put him in situations where he’s forced to acknowledge his wrongdoings/show remorse/admit to how “evil” he is for being a mass murderer for like 2 years. They show him on-screen having a wider range of powers than her, and perpetuate his whole shtick of being a “master manipulator” or whatever….. But then they make Sylvie “the brawn” more competent, intelligent, and physically capable than him. Tell me how it’s a good thing for a ship to be so narratively biased toward one character.

Missed Opportunities

• If they absolutely had to have a romance subplot, then they could’ve paired Loki with one of the characters that have already been established OR one of the characters that were a big part of the whole TVA storyline anyway. It would’ve been so interesting if they’d revealed that Loki had a history with some of the players from previous films (Sif and Fandral both come to mind). It also would’ve been really interesting if they’d given Loki a love interest that actually had some allegiance to the TVA as a whole (Mobius maybe, but not necessarily. It also could’ve been Renslayer or B-15). Hell, imo it would’ve been cool if they’d followed through with that “See you again someday” line that he said to the flight attendant in Ep 1. ALL of these characters have way more chemistry with him than Sylvie, and they were also already relevant to the plot without wasting half the show to give background info on them.

• If they absolutely had to have a hetero-presenting love story involving an enchantress-type figure, then there’s a whole Enchantress (Amora) that was actually Loki’s love interest in the comics. Plus, fans have been screaming for Amora to appear in the mcu for years. Plus, Tom literally pitched an Amora/Loki storyline way back in 2012-13. Also, Lorelei (another enchantress) is also one of Loki’s love interests in the comics, and she already exists in the mcu (she was on Agents of SHIELD). There were several different established characters for them to choose from. Creating a whole knew amalgamation of a character and going with the “she’s a Loki variant” storyline was just completely unnecessary and made no sense.

• They completely robbed us of a Chaos Twins dynamic. Had they handled Sylvie better and not forced her and Loki to smooch, the two of them could’ve had a really really complex and interesting sibling relationship. Loki could’ve stepped into Thor’s shoes and sort of used that new role to gain some self importance, and Sylvie could’ve finally had somebody to look out for her/teach her magic/be there for her. It would’ve been very aesthetically pleasing, the vibes would’ve been out of this world, it would’ve been way more profound than this bs, and frankly it would’ve been much more entertaining to watch.

• Loki’s relationship (read: obsession) with Sylvie completely overshadows all Loki’s other relationships in the show. Loki and Mobius were literally the focal point of the series in Ep 1-2, but after Sylvie showed up in Ep 3, they barely had any interactions with each other, and Mobius pretty much faded to the background entirely. Loki had the beginnings of a pretty interesting antagonistic relationship with Renslayer (with her wanting him pruned, then arguing with Mobius that he couldn’t be trusted), but after Sylvie showed up the dynamic shifted to focus on the history between her and Ravonna. Loki and B-15 started off very badly and openly disliked each other throughout Ep 1-2, and then in the end of Ep 2, Loki showed a little bit of concern for her when she was possessed, hinting that they might be inching toward a reconciliation- especially considering how obvious it was that Loki was gonna uncover the TVA’s sins eventually. There was so much potential for him to be the one to give her her memories back and convince her to change sides, but no, of course that honor went to Sylvie. In fact, after Sylvie showed up, Loki and B-15 never even spoke to each other again.

Various S*lki Fails

• If they were trying to convince us that this affection was mutual, they completely failed. There’s nothing I’ve seen that even hints at Sylvie feeling the same way about Loki that he does about her. At most, I’d say she has a slight endearment to him. She finds him likeable and she’s grudgingly fond of him, but she definitely isn’t in love with the guy. Maybe she thinks he’s cute and hopes that he gets out of this mess alright, but her mission obviously comes before him- whereas, it’s been confirmed multiple times that Loki cares about her above anything else. She doesn’t trust him, she looks at him like he’s an incompetent fool half the time, she shows little to no reaction during most of his confession moments, and she kissed him as a means to distract him so that she could get him out of her way. Look, all I’m saying is, when you get into a relationship where one of you is way more invested than the other, it never ends well.

• This goes without saying for a lot of us, but the selfcest is just straight up odd and cringey. If you’re cool with that sort of thing, fine! People can ship what they want! But don’t pretend it’s not at least a little bit uncomfortable. Yes, I know they’re not technically siblings so it’s not technically incest, and they’re also not technically the exact same person, but they’re similar enough that it makes things weird. And yes I know selfcest can’t happen in real life, so there’s no way to judge it morally, but neither can most of the other stuff that happens in these shows/movies (the Snap, Loki destroying jotunheim, superhero with powers being held accountable, mind control) and yet we still find ways to judge their morality, because they all mirror real-world events. (The snap= genocide; Loki destroying Jotunheim= bombing other countries; superhero accountability= weapons accountability; mind control= grooming and coercion). And lbr the closest real-world mirror to two versions of the same person (who may or may not share DNA, family, backgrounds, physical and emotion characteristics) being romantically involved with one another is incest. And you can be ok with that if you want- that’s your prerogative- but don’t get pissy just cause a lot of us are squicked out by it.

• The whole mirror metaphor (learning self love via each other) thing just fell completely flat. First of all, having Loki learn to love himself by looking at someone who mirrors him did not, in any way shape or form, require them to be romantically involved. But they were. Of course. Secondly, the creators have contradicted themselves so many times on whether Loki and Sylvie are the same or not, that it doesn’t even really register to the viewer that the mirroring thing was what they were going for. Finally, Loki and Sylvie are shown to have so little in common- and to have only the most bare minimum of similarities personality-wise- that it doesn’t even make sense that Loki would “learn to love himself through loving her”. Like? They’re nothing alike. So how would he make the connection that he himself is actually pretty cool, based on her alone? There’s virtually nothing in her that reflects him.

• I know the objective of the entire show was to convince us of how awesome and unique Sylvie is, but honestly her relationship with Loki just did the opposite. A hallmark of a Mary Sue is having her constantly upstage the male lead, and then having him instantly fall madly in love with her anyway. And that’s.. exactly what happened here. Everything they’re doing to try to force her character to be more stan-able is really just forcing her to look more like their self-insert OC. Which is exactly what she is. It would’ve been so much more satisfying if she didn’t have to try so hard to look cool, if they didn’t have to try so hard to make her backstory tear-inducing, if they didn’t have to turn our protagonist into a snivelling simp just to prove how incredible she supposedly is. Very much #GirlBoss energy and we all know how performative and cheap that is.

• The entire thing was too rushed, there was too little build-up, and it was nowhere near believable. As stated above, it’s ridiculously unlikely that Loki would canonically even be interested in Sylvie, and this show did nothing to explain why he was. He just suddenly was. There was nothing they showed us as viewers that would justify a guy as closed-off and preoccupied as Loki falling head-over-heels for a girl he just met. Their was no explanation, no big revelation, no reasoning, it just… kinda happened. And I’m also severely skeptical of any love story that has the characters go in this deep after only 3 45-minute episodes of exposition.

I’m sure there’s other stuff, so if anyone thinks of anything, let me know and I’ll be more than happy to add it. Tagging @janetsnakehole02 @raifenlf @natures-marvel and @brightredsunset800 for expressing interest. This is all your faults.

[ot3]

on the ‘what do they become divorced from their original context’ the answer is dry as hell i’m afraid to confirm ! it’s like the people who uwuify south park characters, modern tumblr and twitterina tweens don’t seem able to comprehend the old culture orz …

no but the thing is the south park people are FULLY delusional like there is LITERALLY nothing to south park but outdated 'ant-pc' humor and crude art. i have seen a lot lot lot of south park and am speaking with an extensive amount of knowledge on the series and the characters are incredibly 2 dimensional and the show has little to no overarching narrative aside from a few vague plotlines. so like to turn that into shippable fandom fodder you have to be fully removed from reality

RVB, ON THE OTHER HAND, has a heart and sincerity to it that south park completely lacks. the characters are not exactly super complex but they have a nuance to them that is definitely more than the south park characters are allowed because RVB is a narrative show, not an episodic one. there is conceptually something here that makes sense to engage with from a Fandom perspective. which is why its so fucking funny to me because like.

okay like i haven't seen much of the south park Fandom so i know that this exists. but i dont think its the majority. like. i think most people's attempt to reckon with the horrific ideology south park peddles is the 'its satire' defense. they don't want to completely defang the source material. RVB fans on the other hand seem to want exactly that. like there are a bunch of people who seem to be under the impression that if you stripped out all of the jokes made at the expense of minorities rvb would still somehow not only be funny, but actually better. and i just literally don't think that's true because as much as the shitty very un-pc jokes are jokes in and of themselves, the larger impact of it is the pinpoint accuracy with which the show preserves This Exact Kind Of Guy Anyone Who Was Alive In The 00s Knew. like you lose out SO much of what makes the show Hit if the characters aren't Those Guys.

so when you want to like, woke-ify that canon and bring modern standards of acceptable humor + make these characters have something approximating the mainstream contemporary understanding of queer theory, disability activism, and critical race theory, i think you'd end up genuinely doing a disservice to the show. i'm not trying to say Actually, Calling People the R Slur Is High Art And You Can't Get Rid Of It (the gay jokes however ARE high art and i can say that) but i will say that i genuinely think RVB has a lot of value as a time capsule for early post-9/11 american ennui and i do think attempting to sanitize it would remove the authenticity.

south park is on the other hand a LOT more anachronistic in it's vibe, and the characters in that show aren't a direct 1:1 stand in for any type of real subculture that existed because the characters adopt whatever contemporary bigotry is the exact right level of edgy for the current set of writers. some south park episodes, individually, are of their era but overall the show isn't a meta-level Period Piece in the way RVB is. the show doesn't HAVE that authenticity because it lacks a coherent perspective or ideology to align itself with. i dont know what im saying anymore what were we talking about. this got away from me.

thesis statement: south park shippers are fully removed from reality but people who want red vs blue characters to talk to each other about the split attraction model are slightly less removed from reality, which actually makes it worse

[raviposting]

Okay so I’ve seen a lot of conflicting responses to Buddie this episode, from it being clear to people that they’re getting together, to thinking the writers have unintentionally messed things up to thinking it’s purely queerbait.

And I get the different responses, I do - tbh I’m somehow in two camps, where I simultaneously believe it’s a slowburn but I also think it’s bait. And those are two very different opinions to have and it got me thinking about why we have these different responses as fans to the possibility of a queer ship (namely two men who would presumably be bi/pan) being canon. 

While people talk about how it’s just people wanting two characters to kiss or entitled fans - sure, that’s existent in every fandom, but I think there’s also a very real fear from queer fans who don’t want to get their hopes up and I d on’t love how the conversation has shifted to calling queer fans stupid for having hope, so I kind of wanted to break it down into 3 aspects that I’ve noticed: 

How writers portray bi characters and why that makes fans hesitant to have hope

What queerbait actually means as a concept

How much “slowburn” has changed in procedurals

1. How writers portray bi characters

Something I’ve thought about a lot are the bi characters I’ve seen on TV - Darryl (CEG), Sara Lance (Arrow), Lucifer (Lucifer), just to name a few. These are great characters imo and I think you’d have a fun time watching but a thing to note is that all these characters were established as bi within the first season of their respective shows and they all fairly quickly fell into a clear romantic ship as well (with the exception of Sara as she spanned multiple shows). It may have taken time for them to say the word bisexual, but it was still clear these characters were queer fairly quickly on. You could maybe argue that Lucifer was a slowburn, but then (while it does not take away from him being bi/pan so do not use this as an excuse to be shitty about him) it’s a m/f ship which is still not the point of my post, to find a m/m or f/f ship that has that same treatment.

Some writers have done it - like for Valencia in CEG, or Petra in JTV - when they saw that fans read them this way, but trying to find those characters were few and far between, and when I looked at popular queerbait ships (whether or not they actually are queerbait) it’s usually ships where the characters are largely viewed as bisexual. A lot of times this also comes with pushback from both straight and to be frank, other queer fans as well. Straight fans don’t always see the signs that queer fans do, so to them a queer character who hasn’t been explicitly clear from the start comes out of nowhere. And what I’ve seen from certain queer fans are concerns that people aren’t appreciating the canon queer characters in a show - and I think there is a conversation to be had about that, but I don’t think the response should also be about then demanding less representation for people either. 

If we go back to 911, people talk a lot about how it has canon queer characters, which it definitely does - Michael, Hen, Josh, Karen, and David are all canonically gay/lesbian and that’s awesome, and we absolutely should talk about fans (white fans in particular) ignoring these characters. It also does not change the fact that none of these characters are bisexual and that is the representation people are looking for. Both of these things are true - these characters are often under appreciated in canon AND people deserve bisexual representation. They don’t contradict each other and to act like one negates the other does a huge disservice.

And even if a character was made bisexual in the canon text we don’t get that slowburn. This may be true for things like Leverage, or LOK, but there’s also a real fact of censorship that affected these shows and the fact that general audiences may not understand the queer text tjat the writers intended. It doesn’t make the writing any less wonderful or the ships any less poignant or beautiful or important, and there’s ofc shows like She Ra that made this more obvious (or the.....mess that was Supernatural that made it. Half true?) but these are still real things that should be acknowledged on why people are so hesitant to call it slowburn - because it’s something most queer fans haven’t SEEN DONE, because m/f ships will get that care for slowburn when it’s done but it’s not done for m/m or f/f ships in that same capacity.

2. What queerbait is

This one’s fun because I don’t think many people understand what it is, but queerbait is very dependent on the intentions of the writers/creators/etc. - which tbh can be hard to gauge, because a genuine intention that ended up not happening or someone baiting fans or someone trying to support all ships and not be rude all have very different intentions but to a fan who only sees bits and pieces of this person on social media, it can be hard to gauge.

Honestly with how much the 4th wall gets broken because of social media now I’d personally say we’ve probably moved into a different definition of queerbait - unintentional vs intentional - because we’re at a point where a show knows what ships are popular and at what level of excitement fans are for it - but that being said, there’s still a clear spectrum of intent. And imo? I don’t think 911 has that intent of queerbait - whether it’s a slowburn or they have a different vision for buddie that I (probably) won’t agree with remains to be seen, but this show usually treats its storylines with care. Are they perfect at it? No, definitely not, I definitely think that they’ve dropped the ball a few times (especially with just how many characters they have lmao), but they also clearly do their storylines with earnest and with genuine care for these characters.

Is 911 getting them together? I want to say yes. I don’t think this was always the plan, just something that they decided along the way, but I also don’t think that changes anything about the ship. A lot of people point to Tim Minear being vague about the ship, or the actors and their interpretations, but 1. We have no idea what they’ve been told about Buddie moving forward and 2. No show runner is going to spoil their show that much. 911 may be keeping quiet because they have a different plan for buddie, sure, but also maybe because they’re still figuring out how exactly they want to do this and/or they want to make this slowburn and don’t want to give it away.

3. Slowburn in procedurals

I feel like this is something that procedurals have started shying away from, but slowburns used to be very common - Bones, Castle, their ships didn’t get together for literal years, but that’s just not something that many shows do nowadays, even for m/f ships. Even things like Deckerstar will have the characters get together after ~3 seasons and explore the relationship onwards, whereas a few years ago, y ou’d pr obably be watching a sh ow and it’d take them 7 seasons to get together. My assumption for this is that shows are afraid  of getting canceled, but there’s been a pretty big shift in getting a couple together after say, 6 seasons to now getting them together about halfway through the show. I don’t think either one is bad or good - in good writers’ hands, either can be amazing - but that shift has made it so that a lot of younger fans in particular, I think, don’t fully recognize slowburn when they see it.

911 as a show tends to run pretty fast - it kind of has to with its depth of characters they have - but when they do have slower running storylines they really do make use of that as well. Bobby’s addiction is something that’s always going to be present in his character, May’s suicide attempt was brought up again front and center after 3 seasons, even Chim’s dynamic with the Lees was brought up again and it was reinforced again that they’re his family. There are certain storylines that have to be continuous and aren’t a one and done type of thing, and that includes Buck and Eddie, especially if you want to establish them as queer to a general audience who doesn’t think about these things.

And honestly, despite my fears, I think they are laying groundwork there. We have Buck learning to be more confident in his relationships, we have Eddie ready to date and learning to follow his own heart, we have Buck and Eddie both establishing that Buck is family and will always be there for Christopher. These are pretty big steps to do for a ship and we’ll obviously have to see how the show goes forward but they’ve already insinuated Eddie and Ana are breaking up, I’m sure Taylor and Buck may last a season and be over, but we do have to see what this next season brings. Do I think they’d say this? No, definitely not.

tl;dr: 

911 is a show with good viewership, but there’s always a possibility they can’t continue with their season and then their promises would feel like a lie. Or they may still be hammering out the details as this season hasn’t been written. Or they may just simply not want to spoil their show,  or they don’t want people criticizing a story before it’s finished, all of these could be reasons. The showrunners, writers, actors, ultimately they owe nothing to us as a fandom to potentially spoil their series, or do something, change it or their schedule for it, and get accused of bait. 

But it also doesn’t change why fans are wary of this storyline either, and I wish people would have more nuance and compassion for fans who are worried about queerbait (whether they think it’s not queerbait and dislike people worrying about it or if they do and are calling people idiots for believing it). There’s a lot of reasons why fans are wary and don’t want to have hope, and it’s not necessarily about 911 specifically as it is a pattern of writing seen in other pieces that have fans worried. These things can all coexist and I wish we as fandom in general could acknowledge that, because pretending that they don’t and criticizing each other/people’s intentions or knowledge when they have certain expectations also doesn’t do much to help.

[hqrbinger]

my complete thoughts on the 2.1 archon quest for those who care;

FIRST OF ALL. THIS WAS PROBABLY THE COOLEST, BREATHTAKING, INCREDIBLE QUEST THUS FAR AND I WILL NOT BE TAKING ANY CRITICISM

lets start from the beginning

spoilers for the entire quest utc obv

CAN WE TALK AB HOW GORGEOUS WATATSUMI ISLAND IS FIRST. like the lil bubbles, the shells, the water- i havent even had the chance to do more than unlock all the waypoints but im fucking in love

my boy.... my boy teppei.... I CANT BELIEVE THEY KILLED HIM. I ACTUALLY CANNOT BELIEVE HE DIED. I CRIED WHEN KOKOMI WAS PRAYING OUTSIDE OF HIS HOUSE- I LITERALLY CANNOT BELIEVE IT

i really like where genshin is going with the quests. its not a "oh no one dies theyre just sleeping" "we dont kill enemies they just faint" no, theres ACTUAL serious points. this quest reminded me a lot of the first dain quest where traveler and paimon found the dead body at the upside-down statue

now this goes into my absolute favorite part of the quest- when traveler leaves the shogun's castle after the battle with signora. AND CAN WE ALSO TALK ABOUT HOW SIGNORA LITERALLY GOT KILLED BY THE SHOGUN??? I WAS NOT EXPECTING THAT- THAT PART WAS INCREDIBLY DONE. im still reeling over how they portrayed the traveler's shock after seeing the shogun's true power and seeing signora cut down so easily. it literally left my jaw hanging open

KAZUHA RELIGHTING TOMO'S VISION WAS ALSO A HUGE THING FOR ME- I LITERALLY SCREAMED. i wish he had some actual lines after that, but just seeing him finally let go of tomo and move on with his life was a beautiful addition to the quest, thank fuck he wasn't killed

SARA WAS ESPECIALLY HOT IN THIS QUEST TOO AND IS NO ONE GONNA TALK AB HOW SHE WAS JUST FUCKING LEFT THERE ON THE GROUND- NO ONE EVEN CHECKED UP ON HER WHAT IS THIS DISSERVICE TO MY WIFE. WHAT IS THIS

and now, for the best part..... my beloved scaramouche

i specifically turned my game back to english just for his token line..... i will also never get over the "just like that" PLEASE I CAN NEVER STOP THINKING ABT IT- seeing him made me feel less shitty abt not being a sara haver yet so that was nice, i also remembered to screen rec his scenes this time and not fuck up like i did back in november <//3 but also.... people were saying that he was raiden's brother, but thats not true it seems- he was a prototype puppet she made before making her own stand-in, which BLEW MY MIND SINCE I WAS SO SURE YAE WAS GONNA SAY MAGUU KENKI

anyway i really loved that quest, definitely more than the last one and i seriously cant wait to play it again on my alt holy fucking shit

[myketheartista]

Do you think if a fan reasonably listed their dislikes and concerns with rvb zero, Fiona, Torrian, or literally anyone else would still come back and light a fire under them? (fiona’s comments have made me a bit annoyed but it’s understandable since some of the comments from fans have been stupid)

Because it’s not about “if it’s not your thing, sorry, you don’t have to watch it. It’s for other people!” It’s about the actual issues in the show that I feel like...the writers aren’t recognizing? And this isn’t me hating on the show really, I’m just confused if they notice the flaws?

This is probably turning into a long post so I apologize in advance, and if it does turn into some sort of hate-rant, I apologize for that too, but I’m mostly just letting my thoughts out on things I’ve noticed that aren’t sitting well with me—and SPOILERS for the new episode if you aren’t a first member, but-

———— sorry I’m on mobile idk how to do a read more if it’s possible

I think I’m allowed to get angry that they killed Tucker. Because even if it’s a fake out and they’re pulling another season 12 where we all thought he was gonna die after Felix stabbed him (because the situation was actually taken seriously and the atmosphere is what assisted the blow in comparison to rvb0’s not-so-great pacing skills) EVEN if it’s a fake out, it’s a shitty thing to do. I don’t care if it comes down to “oh, well Jason was the only one of the OG cast available and bringing back Tucker makes sense because of his weapon” you’re going to 1.) bring back a beloved character we’ve had for 17 years. 2.) KILL said character 3.) probably do it for dramatics and he’ll actually be okay because why would you kill off a memorable character 4.) god, not to mention, and this could just be me being extra bitter, but you killed him off in such a boring way? I know the guy is an idiot, a sim trooper thrown into a war he was never apart of with no fighting skills at all, but it’s Tucker. Make the guy go out in style.

I said the same thing about Carolina and how they’re doing her a disservice. Even though she had began to grow annoying to me in previous seasons (shisno paradox to be exact), I was still ecstatic to see her just like anyone else! Her and Wash! And I’m NOT her creator and I’m NOT someone who understands her character to the point where I feel like I have a right to start telling the writers they’re portraying her wrong, but I truly feel like Carolina is not in character at all. I think the constant usage of Wash’s first name is unusual (she even went as far as to CORRECT One??? Wash’s name is a personal thing and throwing it around makes me feel like he isn’t even worthy of respect at this point. I sincerely hope they aren’t using the first name basis thing as an excuse to say oh!! Look at how close her and Wash are!), the completely? normal?? private conversations she’s been having with specifically One (I’m unsure if it’s because Carolina is working with people who aren’t actually idiots this time around so the setting makes her more comfortable, but I don’t see Carolina as an advice-giver or a pep-talker. Maybe I’m so used to hardcore freelancer Lina that I’m brainwashed but these are really throwing me off), and finally— her reaction to Tucker’s death, and excuse me haha, is a fucking joke.

I’m not elaborating on that. I feel like it should be self-explanatory, to be honest. I could even say her reaction sums up MY reaction, but I’m hoping there might be some aftermath stuff, y’know? Then again, I’m praying he’s not dead because, again, what the actual hell?

But aside from me being annoyed by little writing things I’ve noticed, I’m really enjoying the animation and I’m totally into the characters, but who hasn’t said that? That seems to be the only good thing you hear after long posts that speak negatively of the show. I appreciate the enthusiasm and I completely respect others who enjoy it for what it is! I’m also trying to enjoy it from the perspective of a new fan or even someone who just LOVES rvb for what it is (because HEY any rvb satisfies me, I freakin adored the shisno paradox even if it’s hated on for its writing) buuuut the flaws keeps standing out to me whether it’s the unusually fast pacing, the awkward and very over exaggerated movements (because if we’re being honest, what human moves like this? Am I too rude to ask if we can just have someone speaking and bobbing their head but still have them animated like in PFL?), the delivery of lines (meh, sometimes it’s cheesy, sometimes it’s good, sometimes it’s just too fast!), and the unbelievable amount of “surprising” info I’m given without a cool plot twist or SOMETHING to make me actually give a crap about the characters lives and backstories.

Yeah, it’s probably turned into a hate-rant, haha. But I’m legit curious if Fiona is defending Torrian and hyping up the show simply bc it’s a first-time thing! Great! She’s happy and excited and so proud of the thing they’ve created, who wouldn’t be, but it’s severely disappointing to see something so awesome have so many problems that are making it an unenjoyable experience for me. And maybe that’s just me being someone who criticizes too much...which is ironic considering I’ll praise every episode of rvb because I’m being fed content, I’ll praise ANYTHING rvb RT gives me bc I’m so desperate, but rvb0 is uhhhh it’s not cutting it for me unfortuantely.

MY PASSION FOR RAYMOND LIVES ON THOUGH! I love burger man and I love his funny lines and his relationship with everyone and I love how he’s a goofball. I love lots of things about the show and I still think the cast thing with Carolina was funny :) so sorry if I come off as mean because I’m really trying to not let my love for old rvb get in the way, but I dunno, maybe I really cant accept something new? Or maybe I’m just sad something with potential isn’t doing so great :(

[whistlewhileiblogit]

Thoughts on TLoU Part 2....Again

Yeah, I am back with another vent, rant, thoughts on...thing. I wanted to wait a long time after writing my initial reaction to the game, because I figured I’d get more clarity or something. Anyway, so here are my unedited and unfiltered thoughts...8 months later. So as always, this is going to be rambly, and I’ll probably just bold parts of note in case anyone wants to jump around. So here we go!

Oh and, SPOILERS AHEAD

Things I liked: These pretty much haven’t changed. The game is obviously beautiful, the gameplay itself I enjoyed immensely (when mentally separating it from the plot), the Joel and Ellie flashbacks. They were fantastic, and made me feel very reminiscent of the first game. Jesse and Dina were cool, but I found them underutilised, which is a massive shame because they were cool characters.

Yara and Lev were also great, and again, Yara was another completely wasted character potential. But love them nonetheless.

So yeah...that’s pretty much it, I think?

Now for the things I didn’t like...

The writing is the biggest sin in the game to me, as it creates so many structural issues. The pacing is wild and jarring, we aren’t given enough time to bond with certain characters before they are killed off, the narrative itself manages to be incredible simple yet complex simultaneously, but it is a total mess.

Let me explain. The end of the game essentially comes down to “revenge bad”, no matter how you look at it. Sure, you can also include other aspects like, “do good deeds”, but they seem sort of tacked on, considering what happens throughout the game. Ellie goes through the entire story with vengeance for Joel being basically the only thing on her mind (or at least, at the forefront of it), and then just...doesn’t go through with it at the end.

Honestly, the game felt by that point that she HAD to go through with it, after all, how would she learn her lesson? Yet she learns her lesson, without actually getting revenge? So what was the point? Some have said that she learnt in that final fight with Abby to forgive Joel, but this makes no sense. Ellie had already started to forgive Joel before his death. Obviously, she wasn’t over it yet, but she clearly wanted to make amends with her father figure. Besides, she’s fighting Abby, after all. And she certainly didn’t forgive her.

I think a lot of people took Ellie letting Abby go as forgiveness, but in reality, it was in complete grief. There was no point in killing her anymore.

But again, THIS MAKES NO SENSE. Given every. Single. Thing Ellie went through the game, all to find and kill Abby. Losing others she loved and cared for, her family, her fingers (and her ability to play guitar which was the only thing she had left connecting her to Joel)...all of that and she just let Abby go?

It would have made so much more sense had she gone through with killing Abby, only THEN to realise it didn’t make her feel better in the long run. That she was still conflicted in her feelings for Joel. Why bother having Ellie go through every point in the game, only to have her back out at the last second and STILL lose everything? What is that saying? If you do the “right” thing, you’ll still get shit anyway? Ugh.

So speaking of Abby...I thought hey, maybe after all this time, I’ll be able to grow to like her! Yeah, nope. She is just as unlikable as always. Abby is a deuteragonist that we are meant to grow to care for, like we do Ellie. But here’s the thing; Ellie has an ENTIRE GAME beforehand PLUS a freaking DLC game that gives us so much time to love her. So you would think that the writers must think, we’ll make Abby super likeable! NOPE.

Throughout the game, Abby is stoic (which isn’t a bad thing on its own), serious, and just flat-out boring. Sorry Naughty Dog, but I don’t find a character who collects coins as her biggest personality trait interesting. She isn’t funny, or kind or particularly clever. She has her strength, and that doesn’t count as a personality. She’s also a shitty friend, and person, and gets called out for that in the game by Dr Preggers (still don’t remember her name).

Even Abby’s flashbacks do little to make me like her. Oh wow, she has a magical, amazing, super perfect animal-helping papa? And? I just can’t latch onto her character and story. Even if she were really well written and interesting, I wonder if I could have after the game presents her as a total fucking barbaric monster in the first two hours of gameplay.

No, I’m still not over Joel’s death. And despite what some people try and say, it isn’t BECAUSE he died. I went into the game fully expecting Joel to die (I was lucky enough to see no spoilers prior to playing), because I felt like that would be the next step narratively that ND would go. This was a terrible decision on ND’s behalf, but I’ll get into that later.

Joel’s death as the way it plays out, does not only Joel a great disservice- but Abby as well. If ND wanted us all to like Abby so much, they easily could have just made her show some remorse, or conflict, or even just a quick, somewhat merciful death to Joel. But instead, we get ~torture porn~, which becomes the first scene of many of these in the game. This scene is so fucking brutal and sickening, I personally cannot watch it. I have seen it ONCE, and after that I have avoided having to watch it again. And I am not a person with a weak stomach.

Instead of having a death scene worthy of Joel’s character, like having him save Ellie somehow or going out in a blaze of glory, as many have suggested...we got an incredibly beloved character being treated as merely a plot device.

Imagine if the roles were reversed, and Ellie had been killed in Part 2, not Joel. I doubt those saying they’d be cool with it really would be. Especially in such a disgusting, horrific manner.

And one of my biggest grievances with the game- the retconning. I’ve had some people argue with me, that the game doesn’t retcon anything. Those people are fooling themselves or just being wilfully ignorant. Part 2 completely contradicts facts from Part 1. Including:

- Joel didn’t completely lie to Ellie. He half lied. If Joel finds all of the recorders in the hospital, it is revealed that the fireflies DID find dozens of immune people. And killed all of them trying to make a cure...and it didn’t work. This is literal in-game proof that the fireflies never would have succeeded in their quest, had Joel let them kill Ellie.

- Part 2 would have you believe that the fireflies were doing well with their groups and their research. Part 2 shows a beautiful, modern-day looking hospital. But the fact is, as shown in Part 1, the fireflies were on their last legs, and killing Ellie to try and find a cure was their last-ditch attempt to find meaning in their cause. It never was going to work. The hospital is shown to be filthy, and barely up to scratch by all standards. The fireflies were struggling, despite what part 2 tells us.

- The character design changes. We have all seen the comparison pictures of the doctor in part 1 vs part 2. They tried to make Jerry (?) look so wholesome and kind, begging for humanities sake. That isn’t how it went down, and he isn’t the same person. They just wanted Joel to look like a total villain.

I also want to mention what a disservice the marketing was to this game. I know Naughty Dog is very anti-spoiler, for obvious reasons, but they went above and beyond hiding spoilers that they straight up falsely advertised the game. And no, I will not forgive them for that.

The game completely undoes what made the first game special. It was a story about two people, struggling to survive, and somehow through it all, finding a familial love and trust within each other, and fighting to keep it, no matter what.

Ellie and Joel ARE The Last of Us, and Part 2 literally kills of half of what made the first game so incredibly special. As soon as Joel was killed, I wondered how the game would remedy those moments, and aside from the few Joel flashbacks, there really isn’t anything comparable to these scenes. Ellie is alone, so she doesn’t get to develop, or show her personality. And even when she is partnered up for short periods of time, she is too miserable (for good reason), to be the joking, lovable character we knew from the first game.

Final thoughts...

All in all, I would say my opinions have stayed pretty much the same for Part 2. I will forever love Part 1 (played it not long ago for the millionth time), and it is always going to be special to me.

But part 2, as it is, is nonredeemable to me. It really could have been something truly special, like part 1, but I guess that’s just what made The Last of Us so special.

[killian-whump]

Salty asks #1 and #5 for OUAT

Okay! :D Thanks for sending me some :D

1. What OTPs in your fandom(s) do you just not get?

Ohh... I don’t really “get” Fr*zen Jewel. I mean, the characters never met in canon, and I can’t think of any way they would meet in canon, so... I don’t know. It just seems weird to me, I guess. I know it’s become a thing now, and I even enjoy it when it’s in an AU story. I don’t dislike it or anything. It’s just weird to me, I guess because my mind just would’ve never put them too together on its own, but someone’s mind out there DID and then a bunch of other people were like “YES” and that just confuses me XD

I also don’t get Sw*nfire. I mean, canon pretty much showed us a bunch of ways that Neal was a subpar boyfriend, purposely even juxtaposing him with Killian to show how Killian was more honorable and better boyfriend material... but I guess some people like going for the less palatable choice? Like, if someone offered them a five star Creme Brulee or a stepped-on Twinkie, I guess they’d just be like “I don’t know, man, the Creme Brulee is just too appetizing, I don’t really deserve something that good, I’ll just take the Twinkie.” And then he even died in canon, so it’s like “Could you step on the Twinkie again for me, tho” and I just don’t get it at all.

Okay! Next is.... #5!

5. Has fandom ever ruined a pairing for you?

YES. Okay, actually, the all caps response is due to another show’s fandom, an anime actually, where I RPed as my favorite character and was in a community with someone who was a great RPer and RPed the other half of the ship and OMG IT WAS SO FUN until the other RPer decided to take over the community from the secret anonymous owners (who just wanted to RP with everybody without everyone trying to “make points with the mods” so kept their identities secret) and send them hate mail and fake applications and all kinds of other shitty shit that ended up making it impossible to accept new members or even RUN the fucking place... and OH YEAH, the “super secret mods” were me and my freaking MOM, which was the other reason we wanted to keep it secret, so that wouldn’t make things weird, but ANYWAY this person was literally SUCH an asshole that they ruined their character for me for good and ISTG, like 20 years later I’m still like “Yeah, fuck those guys” about the pairing/characters.

ANYWAY, what were we talking about? Once?

Yeah, I have to admit that the fandom kinda ruined CS for me quite a bit. I still like it. It’s still my “OTP” for original recipe Killian... but the Jen-centric CSers who went on the attack for/about S7 just ruined Jen’s face for me. Like, literally her face, and a bunch of the best CS scenes, too, because they’d go attacking fans, or Colin, or Colin’s coworkers, or the show’s accounts or whoever with their CS/Jen icons and it got to the point where I’d see a Jen/CS icon and be like “Oh, for fuck’s sake” because most of the time it was one of those yahoos. Mind you, it’s gotten better since they quit their bullshit, but the negative connotations I have for certain things (Jen and the wedding mostly) still linger. I can still enjoy CS fanfics and fanart/scenes where I can separate Jen from Emma well enough to look past it... but it’s made it a lot harder for me to enjoy the ship.

Also, S6 in general was a sore spot for me, because I feel like Killian played second fiddle to Emma the whole season, and it wasn’t the equal-partners ship I got into in the first place. And the people who did all of the above shit were a lot of the same people who were very Emma-centric about the ship all along, and the same ones who had attacked people like me who were more Killian-centric and/or didn’t care for CS’s storylines in S6. I mean, I lost count of how many times CSers attacked me for not shipping them right, even though they’ve been my OUAT OTP the whole damn time. It blows my mind. Like, we ship the same damn thing, why are you attacking me and trying to “blacklist” me from the ship’s fandom? Freaking nutters, I tell you. Crazy people.

Anyway, SIDE NOTE: People do their faves a complete disservice when they use their face as an icon and run around getting into fights and attacking people. I mean, they’re literally just asking for people to associate their fave’s face with their own shitty behavior and that ain’t cool. I almost went from liking Lana to hating her during the whole CS vs SQ thing, just from the people who assumed that because I like Killian/Colin I had a vested interest in that war and came out swinging at me. Ship wars are stupid. Ship and let ship, I say, but if you’re going to start fights everywhere, at least don’t use your fave’s face for an icon.

[fieldsofplay]

Favorite Albums of 2020

25. Dehd – Flower of Devotion

Rather than look back on the shit year that was 2020, lets keep our eye on the hope of the horizon.  Speaking of which, Dehd herald much of what’s to come on this here list.  While as previously mentioned a shit year for most everything besides presidential politics, 2020 proved to be a great year for good old fashioned guitar music.  Could I be accused of curling up with my version of musical comfort food? Perhaps.  But starting off with Dehd, we have a type of band that used to be everywhere and now seems to be almost nowhere.  Jangly lo-fi guitars, perky drums, and straightforward unadorned singing.  About five years ago you couldn’t throw a rock in Brooklyn without hitting a band like this, but now that that fad is long gone.  I’m glad that Chicago’s Dehd are still carrying the torch.  

24. Perfume Genius – Set My Heart on Fire Immediately

I’ve always liked Perfume Genius, but for whatever reason Set My Heart on Fire Immediately is the album that took him out of the realm of casual background musical encounter to something I sought out.  Chamber pop has never really been my thing (except for those couple summers where Grizzly Bear was totally my jam), but here the torch songs catch fire by the compressed force of Michael Hadreas’ longing.  This record also pulls off the impressive feat of each song gradually morphing just a bit from what proceeds it, so that the whole record sounds similar and yet each song carves out its own little generic niche, the whole thing united by the quivering power of that pleading voice.  

23. 2nd Grade – Hit to Hit

If you ever found yourself wondering what Guided by Voices would sound like if they wanted to be Big Star instead of punk rock Kinks, we now have the answer, and it’s Phily’s 2nd Grade.  In the noble tradition of Bee Thousand and Alien Lanes, Hit to Hit’s 24 tracks breeze by in a mere 41 minutes and 8 seconds.  An earworm sunny melody, a quick guitar hook, a second verse (maybe), and poof, each song is gone before you could ever miss it.  You would think variation would be difficult working within such tight musical corners, but while each song clearly shares common DNA, there is actually a lot of variance here, from weepy country ditties (“Bye Bye Texas”) to overdriven stompers (“Baby’s First Word”) though they all tend to orbit the same (big) star.  

22. Tame Impala – The Slow Rush

I’ll be the first to admit that The Slow Rush isn’t my favorite Tame Impala record, not by a long shot.  Having said that, this album still feels like it got short shrift this year (not that anyone can really complain about that in these here times).  If we never knew that Lonerism or Innerspeaker or Currents existed, I wonder how much people would be head over heels for this album.  “One More Year” “Is It True” and “Posthumous Forgiveness” are all top notch Impala jams.  Seems like this album is the soundtrack for the chilled out summer hangs that we never got to have, and thus it’s fitting that it seems condemned for the ash-heap of history rather than the late-night come downs we never got up to.

21. Against All Logic – 2017 – 2019

Ah, speaking of complicated musical relationships, I can never seem to chart a clear course with Nicolas Jaar.  The music he puts out under his own name never seems to do much for me, but I dug his collaboration with Dave Harrington as Darkside, and I really love most everything he’s put out as Against All Logic.  While admittedly not a great year for house music—normally a liberating genre of communal interconnectivity, now a cruel reminder that we all live in Footloose—a banger remains a banger, and 2017-2019 is full to the brim with them.  While I honestly can’t remember the last time I went dancing, I’ll still crank up “Fantasy” and bop around my living room, literally dancing by myself (lets be honest, something I would have done pandemic or no).  

20. Fiona Apple – Fetch the Bolt Cutters

Fetch the Bolt Cutters has had a lot of great things said about it this year, so I don’t really have to add that much.  What I will say is this is perhaps the most interesting percussion I’ve ever heard on a record.  There is percussion all over the place, but almost none of it in the form of full-kit drumming.  Fiona always used the left hand on the piano as the rhythmic center of her songs, but here there is drilling, tapping, rapping, patting.  The phrase DIY gets tossed around all the time (and almost never applied to big money, big label Fiona) but to me the most impressive thing about this record is how it always sounds like she is sitting at a rickety upright piano in the corner of a living room, while everyone congregating around keeps the beat by tapping on pots and pans, the walls, whatever is at hand.  I’ve truly never heard anything like it.  

19. Advertisement – American Advertisement

Godbless Seattle’s Advertisement. So long as there is cheap beer, old shitty cars driving with the windows down, and the U-SofA, there’ll be bands like Advertisement.  Straight out of the vein of Cheap Trick and the more recent White Reaper, Advertisement play power pop with the emphasis on the power.  Sometimes this type of music gets called sleazy, but honestly I don’t get it.  I think its probably because you can imagine it playing while Wooderson drives around Austin looking for redheads. While we rightfully cancelled the song of summer this year, “Upstream Boogie” would have gotten my vote, perfect for backyard bbqs and cannonballing into creeks.  

18. Nation of Language – Introduction, Presence

I didn’t set it up this way, but if Advertisement has a diametric opposite, its probably Nation of Language.  Where Advertisement is all frayed edges and foam, Nation of Language is as buttoned up as those terrible sports jackets people wore in the early ‘90s.  While its not as good as my beloved Black Marble, those bands share enough DNA to make me a big fan of this synth pop gem.  It’s not as dark as the cold-wave Black Marble, but it does share that bands fondness for stark baselines and crisp arpeggios.  If you’ve ever envisioned your life as a scene from a John Hughes movie, Nation of Language could easily be playing in the background.

17. The Soft Pink Truth – Shall we Go on Sinning so that Grace May Increase?

Indulge me in a moment of naval gazing.  Every year as I put these things together I reach a point where I’m lack “damn, this album is this low on the list?” And the point at which that thought enters my head is usually indicative of how good a year for music it was.  Now 2020 wasn’t a good year for anything, and I probably spent the least time of any year listening to music, new, old, whatever.  For the most part I just listened to the Grateful Dead and ambient albums.  However, for my idiosyncratic tastes, 2020 was actually a pretty fucking incredible year for new music, as evinced by the fact that this album is all the way down at 17.  

Earlier on in 2020 as I was bombarding my poor local music text thread with yet more of my inane musings, I think I declared this a top 3 album of the year.  And I wasn’t lying!  “Pretty” is often a dirty word in aesthetic appreciation, but this is certainly the “prettiest” album of the year in the best sense of the word.  From the Drew Daniel half of Matmos comes Shall we Go on Sinning so that Grace May Increase?  A record that is somehow simultaneously deep house and feather light, so much so that it needs its own dumb internet music writing moniker—shallow house? wide house? vacation house? (actually kinda like that last one).  With vocals from Jana Hunter, Angel Deradoorian, and Colin Self (with whom I wasn’t previously familiar) this thing will simultaneously make you want to tap your foot and drift off into the clouds.  This is album is like the prayer Madonna sang about all those years ago.  

16. Kurt Vile – Speed, Sound, Lonely KV

It’s not at all surprising that if Kurt Vile decided he wanted to go country western he’d be really fucking good at it.  First of all, he’s an exceptional acoustic guitar picker.  Secondly, his voice, while always befitting his hazed out urban rockers, has just enough twang to it that in retrospect it always sounded a little bit country.  This record also gives me room to offer up an homage to the late great John Prine, for whom the EP is essentially a tribute.  Vile covers two Prine songs, dueting with the man himself on “How Lucky.” Saying goodbye is never easy, but on Speed, Sound, Lonely (both the album, and the song more or less by that name) Vile manages a fitting tribute to a lost legend.  

15. Lomelda – Hannah

The reviews of Hannah really did Lomelda a disservice.  Sure, they were glowing, but they made it sound like this was some weepy milquetoast singer songwriter affair, when it’s actually a knotty album full off elliptical piano and fuzzed out electric guitar.  Its 14 tracks hurtle by, largely due to the fact that almost all of them are under 3 and a ½ minutes.  Things really get going with the second track, “Hannah Sun” with is squiggly synth effects and driving acoustic strums carrying on Hannah Read’s musings.  It’s an album of relentless forward musical movement even if the vibe feels like it’s always looking back over its shoulder.  Basically this album is what emo would sound like if it wasn’t made by the worst people in the universe.  

14. Shabaka and the Ancestors – We are Sent here by History

Jazz! Another great year for jazz (Asher Gamedze’s Dialectic Soul and Keefe Jackson, Jim Baker, & Julian Kirshner’s So Glossy and So Thin are with a strong group that just missed the cut).  In the midst of an excellent jazz renaissance (you gotta use super annoying words like “renaissance” when talking about jazz) Shebaka Hutchins remains my absolute fave of the bunch, and We are Sent here by History is probably my favorite thing he has put out so far.

13. Waxahatchee – Saint Cloud

While I really liked Waxahatchee’s low-fi emoish debut—American Weekend—I’ll readily admit I wasn’t much about the popier albums that followed, frequently jesting, honestly, that Allison was my preferred musical Crutchfield sister.  All that changed for me with Saint Cloud.  I’ve certainly drifted far off into country and Americana as I’ve aged, and it appears the same came be said for Katie Crutchfield.  These songs have a giddyup to them but they never break out into a gallop, allowing the strength of the melodies to carry them along across the plains, with just the right hint of twilight.  Saint Cloud is the sound of Patsy Cline if she played to roadside inns rather than the Grand Ol’ Opry.  

12. Neil Young – Homegrown

This was the hardest album to place on the list this year.  For starters, should it even count? Clearly I say yes.  While some of these songs have been available for over 30 years, as an album, Homegrown was a “new” release here in 2020, even though it was originally slated to come out in ’75 between On the Beach (my personal fave Neil record) and Zuma.  As a pure piece of music, is it better than most, if not all, of the records that follow? Of course yes.  But what does a new Neil Young record mean in 2020? As a thought experiment its fascinating.  Do we value this album within the musical context of 2020 or 1975? Fortunately, it’s an even more enjoyable listen than it is a thought experiment.  From the first strums of “Separate Ways” you’re like “oh shit, this is the vintage stuff.” Gentle amber acoustic numbers (“Try”) share space with electric stompers (“Vacancy”).  The best thing you can say about Homegrown is that if Neil had originally decided to release this instead of Tonight’s The Night, it would have fit right in amongst his unimpeachable run from Everybody Knows This is Nowhere up through Zuma.  A classic is still a classic, no matter what year it finally sees the light of day.  

11. Destroyer – Have we Met

Ah Dan Bejar, boy was I wrong about you.  I kinda got into Destroyer’s Rubies, I loved his contributions to Swan Lake and The New Pornographers, but yet when Chinatown started really making waves, I just couldn’t do it.  It was soft rock! I hate soft rock! I hate everything about it!  This preconceived notion wasn’t helped by the fact that I saw him open for the War on Drugs in Pontiac once and he was so drunk he could barely stand up and had to read his own lyrics from a sheet.  And yet, for some reason I never really gave up on it. I can’t tell you why exactly, but two summers ago Chinatown just slowly became my go-to for early morning / late afternoon strolls. I found comfort in giving myself over to its pillowy soft embrace / cheating on my own aesthetic judgments.  Now that I’m card-carrying Bejarhead, I greeted Have we Met with open arms, and I was not disappointed.  The synths glimmer, the guitars add just enough punch, and his lyrics remain sharp as ever.  Its fitting that this was the last concert I saw before the iron curtain fell.  The one thing I had always turned my back on ended up being the last memory of dionysian group enthrallment I had to carry with me out into the desert of social isolation.  Come back soon Destroyer, come back soon, everyone.

10. Deeper – Auto-Pain

Ladies and gentlemen, get ready, because post punk is back! I always say my favorite genre is ‘sad songs you can dance to’ but post punk is a close second.  When I was in college post punk underwent a bit of a renaissance in the form of Interpol (back when they were still good), Bloc Party (ditto), Franz Ferdinand, and a whole slew of British one hit wonders (Maximo Park, Futureheads, Art Brut, the Bravery).  Fortunately, as is always the case, what’s old is new again, and stark melodic bass lines, angular guitars, and moody introspective speak-singing are back in full force.  Of the three post punk bands gracing this here top ten (Deeper, Fontaines DC, and Crack Cloud) each has its own little slice of the generic pie.  Fontaines have the deep gloom of Interpol/Joy Division, Crack Cloud ripple with the staccato energy of Gang of Four, and Deeper have the wiry dancieness of, well, Wire. So long as leather jackets and black and white photography remain cool, there’ll always be bands like this, and thank god for that.  In a true sign o’ the times, I learned about this band from some random girl’s Tik Tok in my for-you feed.  She repped five bands, two of which are in my top three, so I was like, sure I’ll give this band Deeper a go.  God bless the internet.  Finally, Deeper get bonus points for naming a song “This Heat,” who I’ve been spending a lot of time revisiting this year, and whose spikey guitars are all over this record.  

9. The Flaming Lips – American Head

There are few things as satisfying in art as being genuinely surprised by a beloved artist you had given up as culturally dead.  Since putting out their last masterpiece (2009’s Embryonic) the Lips have put out a string of good, if inconsequential, albums that befitting the ethos of the band could best be described as half baked (The Terror, Oczy Moldy, and a series of collaborative experiments).  Basically, they had reached that dreaded nadir where I was no longer interested in listening to their new output (cough The National, cough cough Arcade Fire).  So what made me give American Head a chance? That reader, is the point of art criticism! I can’t remember how the blurb on pitchfork read exactly, but I knew it referenced Tom Petty and a return to a preoccupation with more Earthly concerns—namely ‘70s heartland rock.  Well, this sounded intriguing, and boy was I not disappointed.  Sure, the Flaming Lips have already reached their sell-by date twice over (first in 1992, immediately followed by their MTV reinvention on 1993’s Transmissions from the Satellite Heart; and then again in the late ‘90s with the departure of guitarist Ronald Jones, followed by their creative pinnacle, ‘99’s symphonic masterpiece The Soft Bulletin), so it shouldn’t be all that surprising that this band could rise from the dead a third time.  Only, for the most part, they didn’t.  I guess I’m not surprised that American Head failed to reach a broader audience. Most people probably aren’t even aware that they are still a going concern, and after the failures of the last decade it makes sense that most weren’t interested in more tunes from the Oklahoma freaknicks.  But for those willing to give the band another chance, American Head easily delivers their best album since Embryonic, if not all the way back to Yoshimi.  Mixing ‘70s Americana with the star gazing of Soft Bulletin’s “Sleeping on the Roof,” the Lips deliver their best album in decades by foregoing the parlor tricks and returning to what they do best, taking trips to distant galaxies while keeping their feet firmly planted in the soil and songcraft of Oklahoma.

8. Cut Worms – Nobody Lives Here Anymore

This one is pretty easy.  Do you like George Harrison’s All Things Must Pass? If yes, listen to Nobody Lives Here Anymore and revel in this double album’s upbeat acoustic rock mediations.  If no, well there’s plenty of other good stuff out there.  Not quite as metaphysical or orchestral as All Things Must Pass, Nobody Lives Here Anymore still manages to hit that rockabiliy-pop sweet spot that Harrison used to mine.  I’m not quite sure what the definition of “troubadour” is, but it feels safe to call Cut Worms a troubadour, which is certainly better than his terrible stage name.  

7. Cigarettes for Breakfast – Aphantasia

Similar to Cut Worms, Cigarettes for Breakfast also involves a simple influence equation.  Do you pray at the altar of Loveless? If so, Aphantasia is just the record for you.  Sure, it’s a bit of My Bloody Valentine paint by numbers (“Breathe” even features the same squally guitar noise [it’s really hard to try and describe My Bloody Valentine effects ha] as “Soft as Snow (But Warm Inside)”) but when you’re as into shoegaze as I am, that’s never really a bad thing.  Plus, I’m being a bit unfair.  Everyone with textured tremolo heavy wall-of-sound guitars and cooed vocals is going to inevitably be compared to MBV, and Cigarettes for Breakfast do enough to chart their own course.  Perhaps most interesting is the musical journey this record charts.  Its loudest moment is its opening, where pummeling guitars more reminiscent of Sonic Youth with a touch of Dinosaur Jr. rip across hardcore style drumming. From there each song becomes a little more ambient, until closer “If Someone Could Help Me, Please” more or less floats away on its shimmering sheets of beautiful noise clouds.  In this sense, it bears a resemblance in structure, if not in sound, to Deerhunter’s Cryptograms, another album I spent a lot of time revisiting this year.  A shutout here is owed to the fine folks at Radio K, who had me diving for my shazam as this thing ripped across their airwaves.  So long as there is college radio, there’ll be a new crop of kids discovering via Kevin Shields that the electric guitar contains endless sonic possibilities.  

6. Fontaines D.C. – A Hero’s Death

The second entry in our top-ten post punk trio is A Hero’s Death by Fontaines D.C.  I’ll admit, on first blush it’s kind of a dumb band name (I just assumed they were some hardcore band from Washington DC chasing those Dischord Records glory days), but when you learn that the “DC” stands for Dublin City, it all clicks, as this band is sorta inescapably Irish in the way that James Joyce is.  Now this fact at first was also off-putting—if I went the rest of my life without ever hearing the Dropkick Murphy’s again I’d be quite content—but eventually it becomes integral to their sound, and not just because of the brogue in Garin Chatten’s vocals.  “Love is the Main Thing” is an incredible song in many ways, most notably because of the hypnotic quality of the drumming with its counterpoint between riding cymbal and staccato toms, but perhaps in the main (*wink*) for the way it manages to connote the weariness of a grey urban environment without ever being explicitly about it.  Just as Turn on the Bright Lights managed to perfectly capture New York in 2001, A Hero’s Death to me is the aural equivalent of a dense urban center like Dublin, especially after nightfall.  

5. Imaginary Softwoods – Annual Flowers in Color

It should come as no surprise that I listened to A LOT of ambient this year, and to me there was no better electronic record to chill the fuck out to during this insane year than Annual Flowers in Color.  I absolutely loved Emeralds’ Does it Look Like I’m Here? and was devastated they never followed that gem (*wink*) up.  In the immediate aftermath of the demise of Emeralds Mark McGuire’s solo albums got a lot of attention, but apparently the person I really loved in Emeralds was Imaginary Softwoods’ John Elliot.  Annual Flowers in Color is like if Dead City’s, Red Seas, Lost Ghosts were waiting in the departure’s lounge of Eno’s airport.  At the heart of the album lies the 10 plus minutes of “Another First/Sea Machine.” I could listen to this song forever, and on some particularly WTF 2020 lakewalks I more or less have.  Chunky synths, arpeggios that drift off to infinity, ‘80s soundtrack nostalgia.  I could live in these Softwoods for the rest of my sonic days.  

4. Pottery – Welcome to Bobby’s Motel

In another moment of nostalgia for my college years, Pottery are a welcome return to weird ass experimental Canadian bands.  They don’t sound anything like the Unicorns, but in spirit Pottery kind of remind me of them.  I’ve spilled a lot of digital ink here and elsewhere bemoaning the fact that Pitchfork (or perhaps, me) isn’t cool anymore, and to me no band embodies this more than Pottery.  They take a bunch of fun disparate elements—Talking Heads dance art rock, periodic weird pitch shifted vocal effects, hazy deep purple style guitars, and Queen style machismo disco—throw them into a witch’s cauldron, and come up with something off the wall that sounds like nothing else but is also instantly familiar.  This is the type of thing Pitchfork would have been all over in 2007, but instead now they’re too busy chasing conde nast clout clicks.  Oh well, nothing gold can last. But enough negativity, this here is a celebration of the joy of new music, and no new band embodies that unbridled joy like Pottery.  Along with Fontaines DC, this is the band I wish I most could have bopped around to with a bunch of sweaty strangers in the 7th St. Entry or Turf Club.  You can just imagine the call and response vocals and funky grooves getting the people moving.  Oh well, hopefully we’ll soon all be rocking the vaccine, they can breeze through town, and I’ll be the first person on the dance floor embarrassingly pumping my fist a half beat behind the rhythm.  

3. Pure X – Pure X

To paraphrase Same Elliott in the Big Lebowski, sometimes there’s a band, and well, sometimes there’s a band.  For me this year, that band was Pure X.  I absolutely loved their debut Pleasure way back in 2011, when lo-fi reverb heavy slow guitar music (ie, Galaxie 500) was all the rage. Their follow up Crawling up the Stairs was so bad I didn’t even bother listening to Angel, though perhaps that also owed a decent amount to just how terrible the art on that record is.  (I’ve since remedied this mistake; turns out that record rules).  Being that as it may, I can’t particularly tell you what drew me in to this year’s self-titled album, a full nine years after Pleasure first graced the stage.  In one sense it’s probably because Pleasure is one those albums that just never went out of my rotation.  Whenever the fahrenheit tips past 90 and the walk to the bodega is a few blocks longer than you’d like, that record always hits the spot.  Maybe I just knew this was the record I needed this year.  Either way, from the first bars of “Middle America” I was hooked.  The guitars crash over you, but never in a threatening way. Rather, they envelop you like a weighted blanket, comforting you in their sonic embrace.  Nowhere is this more true than on “Fantasy,” easily my favorite song of 2020 (especially since this was a year entirely devoid of dance floor bangers).  If this album came out in 1999 rather than 2020 I would have hit the repeat button on my discman and listened to this song forever.  

2. Crack Cloud – Pain Olympics

Pain Olympics is the answer to the question that no one asked: what if Arcade Fire’s (back when they were good) communal uplift was paired with Gang of Four’s stark anthem’s of industrialism’s collapse?  While on first blush this might sound like your standard album of punkish fist pumping angst, from when the female vocals (sorry there are too many people in this band for me to be able to figure out whose who) come in on opener “Post Truth (Birth of a Nation)” Pain Olympics reveals itself to be a very strange animal (likely a unicorn of some sort), especially as little orchestral swirls creep into the mix, giving it an almost Judy Garland (in hell) quality.  This subtle genre pastiche is given its best effect on stunner “The Next Fix.” That song starts out as an elastic spoken-word call and response addiction rumination, at the minute mark it starts to segue into a vocoded chill raver, then some horns crop up out of nowhere, then a spoken word passage, then at the two minute mark a chorus of voices come in, doing their best Broken Social Scene in the truest sense of the phrase.  This is perhaps one of the strangest records I’ve ever heard, but what is strangest of all is just how beautiful it is.  Crack Cloud are not for everyone, but if you really give it a chance, the returns are limitless.  

1. SAULT – Untitled (Rise) / Untitled (Black Is)

You cannot tell the story of 2020 without SAULT, which is why this pair of records is here at the top, even if under the influence of sodium pentothal (lets be honest, veritaserum) I might lean more towards Pain Olympics.  In June, the “anonymous” London project put out Untitled (Black Is), and then quickly followed that gem up with September’s Untitled (Rise).  Perhaps more amazing still is that these two albums, released so close together, have unique personalities.  Black Is is more pop/R&B whereas Rise has a dancy, electr(on)ic feel.  I lean more towards the latter, but honestly, both albums are so overstuffed with amazing moments that it’s borderline unbelievable that one outfit could put out so much amazing music in such a short span.  While these records would chart high even if sung in Hopelandic, there’s no escaping the social import of the lyrics.  One need look no further than Black Is’s “Don’t Shoot Guns Down” for the 2020 dance party at the end of the world.  As if that weren’t more than enough, it finds its analogue on Rise’s “Street Fighter,” and that’s SAULT in a nutshell: two albums in constant communication with one another, and more importantly, with the state of the world.  Guns down.  Don’t Shoot.  Let’s dance.  

[jennycalendar]

OKAY. issue 14! bet you’ve all really missed these posts, huh?

so as i mentioned earlier today: when i first saw that bitty preview, my heart went “it would be so funny/ridiculous/wonderful/tragic if jenny was staring into the camera contemplating how fucking much she really wished she hadn’t just hooked up with her kinda emotionally unavailable boyfriend,” and i reluctantly discarded that possibility as relatively unlikely (which i REALLY REALLY REALLY need to learn to NOT DO at this point given that boom studios has spent an entire year just going out of its way to exceed my expectations!!! ridiculous!!!) and moved on with my life.

And Then.

(a brief reprieve from my meta to SCREAM about giles and jenny and their HOOKUP. a THING THAT HAPPENED. she is IN HIS BED. the only canon i respect is reboot canon that’s IT.)

this conversation’s been a long time coming. jenny planted the seeds for it in issue 6:

and was subsequently (and gently) shut down by giles in a way that -- at the time, and without seeing his decision in the museum when the chips were down -- did seem like genuine growth and understanding on his part.

when we circle back to giles’s watcher-related hang-ups, it’s framed this time as something that has the potential to hurt jenny -- something that he will always place above her, in a way that initially made me assume that canon was building towards jenny demanding a relationship where she’s prioritized unequivocally first.

but jenny’s real concerns get brought up again in issue 14.

giles brings up the concept of “healing together,” framing the entire thing as just a communication snafu that they can work together to resolve -- and emphasizing that his priority here is rebuilding his relationship with jenny. his decision to let joyce die at the museum is described by him as “an unfair test that you had to endure,” and he very clearly sees the entire thing as water under the bridge now that they’re both safe, alive, and in their right mind.

jenny is very clearly not in that place.

and now it is time for me to SCREAM AT THE TOP OF MY LUNGS, because THIS. THIS is the kind of jenny-and-giles content that i didn’t even know i wanted!!! they’re very clearly in love in a big, messy way that neither of them are trying to deny or work around; they’ve been an important part of each other’s lives for long enough that they feel comfortable calling each other out (whether it’s giles in issue 9 emphasizing that he’s “always been there” for jenny despite her tendency to shut him out, or it’s jenny in . uh. literally every single second she’s in a scene with giles, to be honest), and this is a genuine opportunity for growth on giles’s part that canon NEVER, EVER afforded him.

here’s where i stop waving my “jenny and giles have been married forever in boom reboot canon” flag for a little while, though, because i think that that actually detracts from the utter amazingness of jenny’s characterization here. when thinking of jenny’s determination to make knowledge accessible to all, coupled with the fact that any comments she made about buffy in canon reflected buffy’s age (i.e. buffy is a BABY), it’s pretty obvious that she would so not be okay with the deal buffy’s been handed. ESPECIALLY when juxtaposed with jenny’s own relationship to duty and destiny -- and the fact that she was herself forced into a situation she didn’t choose and cannot turn away from. obviously original canon never actually explored jenny’s motivations, personal philosophy, and internal thought process (because original canon kinda just threw random plot points at jenny so that giles would have a hot girlfriend, which is gross), but jordie is doing a PHENOMENAL job of that here. it doesn’t MATTER how long jenny and giles have been dating in this situation: jenny is not here for your watchers’ council patriarchal bullshit, and she is ESPECIALLY not here for the fact that buffy and kendra are on death row while giles gets to opt out.

and before we dissect what quickly becomes an INCREDIBLE AND EXTREMELY CHARGED CONVERSATION, here’s an important thing that @ifeveristoday​ brought to my attention: the fact that jenny’s calling him “giles” and not rupert.

way back in og canon, names were a HUGELY important part of both giles and jenny’s character arcs and their relationship to each other. they both had fragmented, fractured identities (jenny and janna, rupert and ripper, i’ve talked about this literally so often let’s move on), and the way they addressed each other very often said a lot about where they were. jenny almost always called giles rupert in canon, very clearly as an attempt to bridge the gap between them; the only times she calls him giles or mr. giles are in “when she was bad” (when she’s clearly trying to keep herself balanced in the face of new and fluttery feelings) and in prophecy girl (yeah, that one’s just inconsistent writing. that’s how jenny’s character flows.)

keeping that in mind, i always was a little bit thrown by the fact that jenny’s called giles by his surname so often in this canon -- but now that we’ve got a pretty solid arc going when it comes to their relationship, there’s a pretty established pattern in the writing.

outside of this issue, here are the places where jenny’s called him giles:

and in each of these other instances, you wanna guess what she’s doing? shutting him out. it’s a little gentler in issue 6 (and she’s more easily swayed), but in all of these situations, she is very clearly distancing herself from him. jenny’s got a habit of trying to pull back and away when the going gets tough, specifically because she knows giles well enough to know that she’s not gonna get through to him on watcher-related matters.

back to THIS.

FELLAS. OH MY FUCKING GOD. i don’t even know where to START here, so let’s go with the easiest one: issue nine set me the FUCK up!!!! jenny pulling away from giles, jenny expressing deep hurt and sadness when it becomes clear that he prioritizes buffy over all else...i automatically assumed that this is her realizing that her boyfriend would have let her die and being horrified about THAT. but the reality of this -- the reality revealed by this issue -- is SO MUCH FUCKING BETTER: the horror that we see on jenny’s face is because the man she loves has been warped by a corrupt system to the point where he doesn’t understand the kind of hurt he’s perpetuating.

and then !!!! jenny absolutely refusing to accept giles’s answer of “this is so much harder for me than you can ever understand,” because he is a grown man with the ability to opt out and she is advocating for two teenage girls who do not have that same luxury. he keeps on trying to turn the argument into something about how buffy’s life isn’t THAT bad, about how buffy’s not REALLY on her deathbed, about how buffy is strong and incredible and jenny is doing her a disservice -- but jenny repeatedly shuts that shit down. “it’s like a religion for you,” she says, like that’s not the rawest fucking line she’s ever gotten to say. thank you, jordie bellaire, for my goddamn life.

and then jenny LEAVES. and she does not fall back into giles’s arms when he says that togetherness is such an important component of healing after the hellmouth. and that says a whole damn lot about what both of them want: jenny wants giles to take accountability for the shitty things HE did and continues to do, and giles...loves jenny and wants her in his life to the point where he’s not listening to a single thing she’s trying to say.

let’s bring back my favorite panel from issue 9:

this sums up my point pretty well, i think. giles keeps on thinking that jenny doesn’t hear what he’s saying -- that if he says it a different way, stresses a different point, she’ll cave and understand how much he loves her and wants to be with her. but the thing is, he’s the one who isn’t listening: jenny is repeatedly saying that she loves him, and that that’s why she’s holding him to the standard that she does. she knows that he can be better than he is, and she’s disappointed in the man he’s becoming.

at this point, i’m pretty sure there’s more to come with regards to giles and jenny. this is a narrative that has very clearly tossed the concept of “world’s best watcherly dad” in favor of “the watchers’ council fucks up the lives of teenage girls and giles is complicit in that.” jenny leaving giles has the potential to push him towards positive growth and character development -- or he could continue to firmly and stubbornly ignore the reality of his situation.

personally, i’m DEEPLY hoping that it’s the former -- and that we get to see giles and jenny come together again after they’ve had the opportunity to grow outside of their relationship. i think there could be something really powerful and wonderful about seeing giles deconstruct his shitty watcher-related views & work towards becoming someone who can genuinely help buffy and kendra (AND smooch his ms. calendar silly, bc she’s sure been having a time of it as of late.) and can you imagine how great 2020 would be with a giles and jenny who have actually learned how to effectively communicate???? ASTOUNDING.

tl;dr: rupert giles and jenny calendar are VERY much in love with each other, VERY sick of each other’s bullshit, and VERY stupid. let’s hope they get their house in order.

[bigskydreaming]

homez18 said: Could be wrong, but I think they feel that way because jason didnt want anyone else to do it. I mean If writers wanted, they could have done something where Jason and Dick’s relationship shifts because of it. But I think for most, it had to do with Jason’s love for bruce and not simply the act of killing joker himself.

I totally get what you’re saying, and its not that I don’t think there’s nothing to that - I think absolutely Jason wanted BRUCE to do it, specifically, and nothing else was ever going to have quite that same effect. Its just that, like, on the next tier below wanting Bruce to do it is to my mind just the general ‘wanting to be avenged’ feeling in general. I don’t think it was about the Joker, per se....it was about someone just saying “fuck no” to the Joker walking around free and happy despite having taken someone they loved, aka Jason, from them.

And Dick still like....accomplished that, or sent that message, via beating the Joker to death specifically because despite already having the Joker beaten and on the ground, his brother’s murderer goading him with a taunt about how he beat Jason to death....saying “fuck no” to the Joker walking around free and happy despite having taken someone Dick loved from him, is pretty much the underlying sentiment beneath Dick losing it on the Joker at that point.

And that’s why I can’t agree that it wouldn’t be hugely significant to Jason to find that out, even though it wasn’t Bruce who did it - the message is still there. The sentiment of “this is how this monster taking my loved one from me has affected me right here in this moment we find ourselves at” is still there. 

And I just can’t see any angle by which that just...wouldn’t matter to Jason, y’know? As if it wouldn’t be a HUGE deal.....perhaps not as momentous or gratifying as having Bruce do it like Jason had dreamed of....but then again, perhaps ending up more momentous than Jason expected because the reason he wanted Bruce to do it was because it had never occurred to him someone else might. Like, he didn’t think he mattered enough to anyone else who might be capable of doing the deed, to like, envision any specific scenario there the way he did with Bruce. 

So to find out he did, that he mattered more than he realized to his brother, that he’d still gotten the essence of what he’d wanted just from an unexpected corner...*shrugs* Who knows how that could play out, but personally I think there’s so much potential there, and even more than that.....its just kinda mind-boggling to see it regarded as not being at all relevant or noteworthy to Jason and his character arc and storylines, and thus just.....so rarely brought over into those stories to play a role in how he and Dick view each other now and act towards each other.

So honestly, my frustration here mostly comes from how often we see stories kinda......acting like it can only be Bruce in that role in stories and if its not him who does it, it might as well not be anyone....idk, not putting it right, but I just kinda hate the tendency of so many stories to act like Bruce and Alfred are the only ones Jason mattered to, you know? 

Brothers in Blood might have been a shitty arc, but Jason made it clear that he’d always seen Dick as family, and Dick’s actions at various points certainly made it clear he saw Jason the same way, so this insistence on acting like Bruce and Jason are their own literal micro-family within the greater macrocosm that is the Batfamily.....tbh, I think it does both Dick AND Jason a disservice. 

Its like people actively pretend that Dick doesn’t like Jason because they don’t like that its DICK who so often provides actual canon proof that he does in fact care a great deal about Jason. (Even though at the exact same time, even the HINT that Dick might actually NOT like Jason or care about him is trotted out to cite as a reason Dick sucks, lol. Always love those little dichotomies).

But yeah, tbh I just don’t understand the logic of being like, I’d rather see a fave character feel isolated and alone and unloved if it comes down to that or seeing them embraced and understood by a character that’s not to my liking or who I’d prefer it to be, y’know? But hey, that’s just me.

I’m just like....let Jason be loved and be as important to other people as he is to Bruce! Let Jason KNOW that he is! Why wouldn’t people want that for his character? I honestly don’t get it.

Especially when like....he already has it. You literally only have to let him know that he has it, and let him and Dick have that relationship, that dynamic, instead of manufacturing obstacles from thin air and making up reasons for why they hate each other when they really, truly don’t and never have, lmfao.

Its also not insignificant to me that upon coming back as the Red Hood, Dick’s the only member of the Batfamily he DIDN’T go after. Even when they faced off in Brothers in Blood, Jason’s whole approach was almost more......trying to get a reaction from Dick rather than going after him the way he did with other members of the family. Personally, I’ve always favored the idea that Jason actively avoided Dick when he first returned because he DIDN’T feel he had any reason to fight or resent Dick, and thus he didn’t want Dick caught up in it, not just because he didn’t want to face off against Dick if he didn’t have to....but because Dick’s presence, and the reminder that he has more family than just Bruce and always did.....could have in Jason’s mind presented a threat to his convictions, like it maybe could have weakened his resolve to make Bruce and everyone else associated with him pay for not avenging him. 

My point being just.....there’s so many ways and angles by which Dick and Jason’s dynamic is so chock full of untapped potential at MANY different points in canon, but after his return most of all. 

And yet, pretty much everyone just keeps going with the one singular take in which Dick just doesn’t understand and never will and honestly never cared too much about Jason anyway other than feeling guilty for his death, and Jason mostly just resenting Dick but other than that like....barely even thinking about him or acknowledging him and being totally fixated on Bruce and Tim, like Dick is pretty much a non-entity to him instead of the first person he willingly CLAIMED as seeing as his family after his return.

It would be different if there was more variety out there, more varied approaches to examining how they could potentially view each other and interact with each other at times or points like that one, but there’s not. There just really, really isn’t, lol. There’s an obnoxious sameness to how so many authors approach that, like, ultimately its hard to end up anywhere other than at the conclusion that a lot of writers just flat out don’t want to be bothered with having to write Dick and Jason having a relationship or dynamic at all, and so they’d rather keep them apart and Dick offpage as quickly and effortlessly as possible.

Which, I mean, like I always say these days to cover my bases, lol - this is absolutely every fanfic writer’s right, they can do whatever they want for whatever reason. I’m not saying they can’t, or implying it, or anything like that.

I’m just saying I find it dull and pretty petty and also just kinda fucking annoying, lol.

BUT I DIGRESS.

[yoolee]

Hey, so I’m thinking I may be ace but not entirely sure? I have zero desire nor interest to have sex nor do I see people in a sexual light (not very often anyways). I keep doubting myself that since I haven’t been in a relationship that perhaps I just “have to wait for the one” but I really couldn’t care less about who I get with (man or woman, I don’t really have a preference)or when. I think that I *am* ace but then again I keep doubting myself. Any advice on how to figure out such things?

OH MY GOD APPARENTLY I HAD A LOT OF THOUGHTS ON THIS SORRY.

TL;DR - BRAINS ARE WEIRD. BODIES ARE WEIRD. BOTH ARE INVOLVED IN SEXUAL ATTRACTION and both are dynamic - so try not to worry about fitting a single definition for all time, and go easy on yourself - your body feels what it feels and what’s right for you.

In this LITERAL SIX PAGE ESSAY I will ramble more:

CAN I CONDENSE THIS into bullet points let’s try:

It’s okay not to define yourself. We all learn things about ourselves as we grow and experience things, and (as a whole) sexual attraction isn’t a one-time-done-deal (though aspects may be)

It’s typically easier to know what we DON’T WANT than it is to know what we DO, so don’t feel weird about not knowing for sure

The media has NO IDEA how often or how little people think about sex and trust me the answer to that question varies WILDLY.

Check out AVEN to read about experiences and see if any of them feel like yours.

Know that level of sexual interest fluctuates over time based on all kinds of inputs (age, medication, other people, stress), so don’t worry too much about changes from your baseline limited/no interest - it’s a bucket, not a pre-measured dose.

If you DO decide to try a relationship or try physical intimacy, do it for YOU not because you feel like you should, and be upfront with your partner about your baseline interest levels before you make it to a bed (or wherever else you choose to instigate)

If you decide it’s not something you want to explore, but you still want an intimate or romantic relationship with someone - know that it’s absolutely possible, more common than you might think, and definitely doable. It may take a few tries, and a few awkward conversations, but those get easier. 

OKAY NOW THE LONG ASS VERSION SORRY

It’s okay not to define yourself. We all learn things about ourselves as we grow and experience things, and (as a whole) sexual attraction isn’t a one-time-done-deal (though aspects may be)

I don’t think how you feel about sex is something you figure out once and are done with, so I’d encourage you to be open to the idea that your definition for yourself may flex a little or change with factors like age or medication that you’re on or the people you’re with, and that’s okay! And it may not, that’s also okay! Bodies and brains are weird and also dynamic, sometimes things are hard coded (whether or not cilantro tastes like soap!) Some things vary over predictable pattern (generally, kiddo taste buds are wired to prefer sweet and this, generally along a predictable sort of timeline, decreases as they age) and sometimes WHO THE FUCK KNOWS (why does person A prefer A dark roast coffee and person B a medium roast and person C thinks both taste like mud and would like to stick to their peppermint tea, please, which person D - Lee - can’t even stand the barest, faintest, tiniest sip of it?) and sometimes the right circumstances make the difference (Person F may hate brussel sprouts - unless grandma makes them with her magic balsamic vinegar, but it’s not the same when Aunt E tries) point being - give yourself some grace if you don’t feel like you perfectly fit one single bucket at all points in your life.

 Consider, to go back to food - Sally KNOWS she’s allergic to peanuts and that cilantro tastes like soap. These are hard coded. So even without trying a Thai stiryfry with peanut sauce, she knows it’s not for her. Less clearly life or death, she’s not a fan of catfish, just because the texture is kind of rubbery, even though her sister loves it. How does she feel about seabass? Dunno, she hasn’t had it. If she has a general idea that seafood’s not her thing, cool - plenty of other things to eat (in this metaphor, plenty of other kinds of relationships to have with people! Physical intimacy is only one) if, one day, she decides to try it, she may learn she likes it, and she also may learn she likes seabass EVEN LESS than catfish. But she can also live her whole life not knowing for sure, and--who cares what her seafood preference is? Why does she have to tell anyone - unless she’s going over to someone’s house and they ask what she likes so they can serve it, and she can tell them, definitely no peanuts or cilantro, not a huge fan of seafood (or, not a huge fan of seafood but if you have a recipe you really like, I may be willing to try it? Both are okay). It may also turn out that the first time she had it, she kinda liked it, but then she had it prepared by someone else and, nope, gross and weird. There’s all sorts of reasons why what tasted one way today will taste different tomorrow. Not everything changes like that (see, peanuts - or, in this metaphor, your kind of baseline) but it may fluctuate a bit in a number of directions, based on a number of factors, internal and external (who prepares the seabass! Is it fresh?) 

 The internet is often one of the few safe spaces for people to openly, proudly define themselves from a sexual identity perspective, so you see a lot of folk doing so - and that’s GREAT. But I PROMISE YOU there’s a HUGE POPULATION who is right there with you going...am I this? Or that? Why don’t I know? 

It’s typically easier to know what we DON’T WANT than it is to know what we DO

Seriously. It is. Maybe you aren’t sure if you want to kiss someone or not. I bet you DO know that you DON’T want to kiss rusty chainsaw blade dripping mysterious green goo. While there are personalities that are very good at clear decisions and classifications (I want to eat at Restaurant A because I want tacos and Restaurant A is the first restaurant I know of that serves tacos) there is also an equally common personality that is wired towards possibilities. (I could eat tacos. But pasta also sounds good, and so does baingan ka bharta.) For the latter, it’s usually easier to focus in on, I don’t know what I want but I know I do NOT want a sandwich. And that’s okay

(related - sometimes our bodies don’t even know we’re hungry. Are we? Or are we thirsty? WHO KNOWS) 

Hopping back to Sally and her seabass. Sally knows for sure she’s not into catfish. She’s never eaten catfish, but they freak her out and her stomach flips over just thinking about it. Cool. But seabass? She doesn’t feel that immediate stomach flip aversion. But her mouth doesn’t water either. She KNOWS her sister tried it and love it. But you know what? Her sister also likes reality TV so her judgement? Different than Sally’s. 

Whether she wants to try it one day or not doesn’t change anything except what tense she can use when talking about it. If she tries it, maybe she’ll learn she LOVES seabass. Maybe she’ll learn she only likes it when a particular chef makes it, and only if it’s seasoned with chili flakes first. And, also, honestly, maybe she will try it, and it will make her sick and lead to a miserable 24 hours in the bathroom and a wish she’d never tried it. That’s a risk. It’s up to Sally if she wants to take it, and whether she does or not, NOBODY ELSE’S BUSINESS except hers and the potential chef making it.

Society is weird about this SO WEIRD and puts SO MUCH PRESSURE - ignore it. There is no ‘normal’ when it comes, specifically, interest level in engaging with sexual activities

If you find yourself pressured to ‘try’ - ask yourself how much of it is YOU and how much of it is SOCIETY. It’s okay to try if you want to, or you’re curious. BUT if you’re trying because you think you ‘should’ I’m gonna tell you flat out and point blank that you are probably going to be in for a very uncomfortable experience, literally and figuratively. And y’all listen. Media does NOT align with reality. It does a lot of people a hug disservice with its prevalent narratives about sex drives. Some of the horniest people I know are cis women in their forties, and I knew teenage cis guys embarrassed and worried that all they wanted was to cuddle when movies were shoving down their throats that they should be thinking sex 24/7. Don’t assume anything about your potential partners.

You don’t have to try something if your gut says, not for you. 

Personal experience? I’ve had to break off relationships with some good people (and some shitty ones) because I was hoping for something to click into place and it never did. Those were harder to end than the ones where the other person did something bad or dumb or stupid, because there wasn’t any one thing I could point to. But as much as it sucked to dump people I liked but didn’t connect with on levels I had hoped, I think we both learned stuff, and it wasn’t time wasted. Others, I was better prepared to say up front, and we explored other options together that we both got something out of, and they ended for other reasons (....usually me being like, ugh, other people and their emotions, no thanks, but, I’m also kind of a self-centered bitch, full disclosure, which you could probably guess from the fact I am STILL TALKING)

Communication is key

To that point, if you ever find yourself in a relationship that seems to be drifting from casual to serious, COMMUNICATE. Tell your partner up front that hey, you’re not sure sex is for you, you’re not into intimate touch, are they okay with that. If NO, you’ve saved both of you some future heartache, if YES, then it’s on the table to talk about later and explore--or not--together. And you don’t have to worry about how or when to bring it up for the first time. The earlier you do it, the less stressful it will be, promise, because you can lay that casual tidbit, and it’s out there. Communication is key. 

You don’t owe society sex, and you don’t owe your partner sex, not even to see if it’s for you or not. But you do owe them communication and honesty. If physical intimacy is something your partner needs to feel fulfilled in a relationship, and it’s not for you - then a romantic relationship may not be right for you both. It’s okay not to know that up front as long as you communicate it may be a possibility and get their buy-in, and communicate when you ARE sure. As much as that sucks, it’s a thing just like any other (like, person A wants kids and person B doesn’t - there are some things were there isn’t exactly a compromise, and everyone ends up miserable - baseline expectations around sexual needs can be one of them).

It’s easier than it sounds - Hey, not gonna lie, you’re cute and this is fun but kissing is as far as it goes for now. Hands there don’t really do it for me. Before this goes further, I just want to be upfront that I consider myself ace, so I don’t really see sex happening. Before this goes further, I’m pretty new at the whole sex thing and honestly not sure it’s really for me, so I need you to go slow. Etc etc etc. Most of the time you get an ‘okay’ and life goes on. Sometimes they ask questions in which case, shiny! Communication! Answer honestly, and ask in return. 

You’re not drawing up a legally binding contract about you will or won’t do - you’re just aligning expectations, and check in with them when they change. 

 Check out stories!

Check out AVEN. Even within asexuality, there’s a lot of variability in how people define themselves - read some of the experiences and see if any of them feel close enough to yours that the definition feels ‘right’ for you. If not, don’t sweat it! Just means you’re still exploring. Some people find they can masturbate but once another person is involved, it’s a no-go. Others find that it takes a long time to ramp them up but it’s possible with a patient partner they trust. Others never feel anything. Others are okay with it in the moment, but don’t spontaneously feel their own desire to instigate it. Asexuality is a pretty welcoming variety!

 Sex drive is impacted by a lotta things

Know that lots of things impact sex drive in particular. Like. Again, for cis women, the data suggests the more you have sex the more you want it - it can ramp up like that. Also, some people get going with visuals (pictoral imagination, porn, naked people in front of them) but a LOT of people need WORDS (legit, why do you think romance novels are such a booming business?) this can come in things partner says or, you know, written erotica (Just like with porn though you have to be careful - recommend Smart bitches, trashy lit) 

It doesn’t necessarily remain static over time. For example, medication and age are both two big inputs to this (ask any nursing home staff - I’m deadly serious. It’s honestly a little concerning because of dementia and consent issues, but like, it’s a thing for sex drives to WILDLY SPIKE in 80 somethings) you could be in a lull, or impacted by meds (for example, hormonal BC is pretty well known to suppress sex drive, and yet, being pregnant--which hormonal BC supposedly mimics to an extent--tends to make some folk absolutely and unexpectedly nutters for physical sensation)

It can be kinda shocking to go, like, years without any interest in sex as an activity or people as sexual partners, and then all of a sudden hormones whallop you upside the head and scream at you do something about them - that doesn’t mean WHO YOU ARE has changed. It just means your biology is responding to something. ANd listen 

L I S T E N

If we knew HOW, consistently, to turn attraction on and off? That would be a thing.

We don’t.

Like. One of the weird ass symptoms of SLEEP PARALYSIS of all things, which is basically, a nightmare you have where you think you’re awake but you aren’t (you ARE semi conscious) and you can’t move, is the idea of an incubus hanging out in the room, because people feel like spontaneously aroused. And we have NO IDEA WHY. And it’s NOT ALL THE TIME. ANd yet it’s documented across CULTURES across TIME, it’s a THING. 

So. 

If your body is not doing something other bodies are doing - well, it’s doing what it needs to to be your body. If your body suddenly stops or starts doing something, and it concerns you (sudden appearance of sex drive! Sudden vanishing of it!) talk to a doc. 

Otherwise - your hair gets longer, sometimes you get freckles where you never had them before, your tastebuds change. This is just one more thing on the list of shrug.

[thecorteztwins]

I love how you care so much about obscure characters. Who is your favorite underrated female X-men character

Awww thank you! I love bringing them love, so it makes me really happy for you to say that! My absolute fave is Haven, but I read “faves” as plural so I wrote down a bunch...my faves can bounce around a bit but here’s a list of some of them! It’s under a cut because it’s long, I really like to explain who these gals are and why I like them so much! Warning, there is some description of pretty horrendous sexism and racism for some of these, since nothing makes me latch on to a woman harder than wanting to defend her from the SHITTY THINGS WRITERS DID TO HER! I kinda wrote novels for Haven and Madelyne, then I did links to previous things I’ve written about others. This is a LOT, I’m so sorry, I just love sharing!! Thank you for asking!!

THE BIG ONES Basically my consistent mega-faves I’m always ready to talk about! RADHA “HAVEN” DASTOOR - This lady has been at the top of my list for over five years and counting! She just really resonated with me on a deep level. She’s this mysterious woman who turns up in X-Factor for seven issues, and though she’s very benevolent towards them (even when they attack her) she is technically a villain, as she’s trying to destroy 3/4 of the world to bring about the Mahapralaya, a sort of Hindu apocalypse that will bring about an age of peace and end to suffering. So, her motives are very compassionate, and as it turns out, the horrible things she’s trying to do aren’t actually her fault. She’s being posessed by the Adversary, a demon of the highest order and an entity of cosmic evil. Or more specifically, her unborn child is. See, Haven was a really, really good woman. She was not a mutant, but she was sensitive to the pain and suffering of others from an early age, and she devoted her life to helping the poor and needy. She’s incredibly rich, so she could have helped just from afar, but instead she not only used her wealth to help others, she herself went out in the streets to attend to the poor and sick with her own hands. She bathed lepers, cradled dying babies, everything. She actually GOT the name “Haven” from a children’s hospital that she renovated, the kids started calling HER that instead. What a villain, huh? It all goes super wrong when she fell in love with a guy. After he took her virginity, he took off, leaving her pregnant. This was in 1970s India, and she was a very a religious woman, she felt INTENSE shame and horrible guilt and sunk into a deep depression, now living on the streets herself she was so broken. And then...then her fetus started talking to her. Yeah, see, technically she wasn’t posessed by the Adversary, her unborn child was. It incubated in her for twenty years, corrupting her mind, making her its pawn, all basically for its own amusement til it could be reborn into the world, killing her. And the guy who knocked her up? Got off scott-free. Basically she had sex ONE time and she had to be punished for it by being stripped of her agency, forced to betray everything she loved and believed, and then finally killed in the mud while a Marvel deity stood over and told her how she brought this on herself. It’s a slut-shaming Victorian morality tale of how no matter how good a person you are, you’re tainted forever if you violate purity culture just once, and we’re expected to AGREE with this narrative as readers. It’s sick. It gets even worse in how X-Factor treats her. She first appears RESCUING Polaris from government agents who are trying to kill her, because despite WORKING for the government at this time (X-Factor was a government team during this period) Polaris’s energy signature matched Magneto’s. Haven is the one who saved Polaris by teleporting her away. Polaris was distrustful and threatened Haven. Haven tried to talk her down, but also opened her arms and said that if Polaris truly did not believe her, then she would not resist. Polaris decided to “give trust a try” but I also truly believe that if Lorna had attacked her, Haven indeed would have let her. Haven is a human but the Adversary gave her INCREDIBLE power, she could WIPE PEOPLE FROM EXISTENCE by THINKING ABOUT IT, but she was a pacifist every step of the way, even as a villain. X-Factor would REPEATEDLY attack her later...she NEVER retaliated. The worst thing she did was, once they kept on attacking her, she just kinda put them in her pocket dimension as a time-out, but didn’t hurt them any. I really don’t think she COULD, possessed or not. Anyway, after meeting Lorna, she ‘ports Lorna back to safety and leaves her be. She is interested in recruiting Lorna and the rest of X-Factor to her cause, but she’s very moral about it, and never uses situations like these as leverage; for instance, when she heals Rahne of the Genoshan bonding process and gives her back her free will and her ability to resume her fully human form, Rahne is ECSTATIC and ready to do ANYTHING for her. And rather than exploit this, Haven just hugs her and tells her that her joy is thanks enough. Again, what a villain! Anyway, it turns out this Haven lady is also an activist! She’s big on promoting peace between warring groups (which I think makes it very significant that she’s an Indian character from Mumbai, then Bombay, who was created in 1992, the same year when Hindu/Muslim tensions in India resulted in the Bombay Bombings and subsequent riots, and she indeed mentions Hindu/Muslim tensions in her pro-peace speeches) and she emphasizes accepting MUTANTS in particular. It is very rare we see humans who are pro-mutant, though they had happened before, but this is the first time we see a human who is pro-mutant WITHOUT any affiliation or friendship with the X-men, and who is a public figure who seems to have some real social power---she’s a best-selling author, lecturer, and apparently her being a very wealthy woman has made some very wealthy people listen to her. She is basically the perfect ally for mutants if you take out the demon-possessed part, and I always found this super interesting and wish more had been done with it. So, she’s speaking at Brahma Hall (Brahma, notably, is the Hindu creator god) and...THIS happens. It’s...it’s really distressing. I’m sure it’s bad enough in its own time, but reading it NOW, in a post-9/11 world, a world where POC are routinely slaughtered by law enforcement (they always were but social media has made us more aware) it’s chilling. And we, the reader, are supposed to see X-Factor as JUSTIFIED in how they treat this unarmed, non-threatening, apparently-human-for-all-they-know woman who is promoting peace. Because no matter how nice she is, the US government says she’s an evil terrorist, and the US government turns out to be right! Yay, America! This might be a good time to mention Haven was the first Hindu character in X-Men comics, and the philosophy that the Adversary is manipulating her with comes directly from Hindu cosmology, and that is WAY IFFY to say THE LEAST. Holy xenophobia, Batman! And in an X-MEN comic of ALL PLACES! Oh yeah, and our good guys also describe her beliefs as “New Age psychobabble” and make fun of her temple decor as "very 60s" when BOTH ARE FROM HINDUISM, WHITE USA HIPPIES DID NOT INVENT IT, YOU IGNORANT SHITS So anyway, Haven’s very interesting to me as someone who is so deeply pacifistic and compassionate, that even when she’s being steered by a literal demon that has been talking in her womb for 20 years, she’s still someone who is perpetually polite, who won’t hurt the HEROES even when they want to hurt her, who SURRENDERS during a FIGHT in order to HEAL ONE OF THEM, and...who ends up with an abruptly aborted arc where she’s killed by her own “child” and victim-blamed in her last moments by Roma, the Omniversal Guardian Goddess and foe/counterpart of the Adversary. It’s made all the more tragic by the fact that Haven’s last pleas to Roma weren’t for herself, but for Roma to stop the Adversary, as she had realized now what her “child” really was. Even in her final moments, Haven was thinking of others, of the world. It’s just....awful to me that a character as interesting and unique as she was was thrown away like that, and that she was treated in such a sexist, racist, xenophobic way by both the HEROES and the story itself. I stan Haven 4 life. MADELYNE PRYOR- She��s maybe not “obscure” per se, I think most X-Men readers have a basic understanding of who she is, but the problem is that “basic” is not enough. What most people know is ”she’s Jean Grey’s evil clone” and some might know that “she was married to Scott Summers and went evil when he ditched her for Jean”. But that’s so far from the whole story, and it really does Madelyne a disservice, and canon has done her ENOUGH disservice already. Madelyne was originally created by Chris Claremont to truly be just a human woman who looked just like the dead Jean, with whom Scott would settle down and have a kid, and leave the X-Men. It’s a pretty nonsensical notion, the idea that this woman just happens to look exactly like Jean and meet Scott and fall in love, but this was his plan, he has confirmed it. And like...that’s pretty sexist from the start, in that she’s very literally created as a replacement for Jean on a narrative level, there’s NO REASON that she should have to look exactly like Scott’s dead ex besides as a way for Scott to still “get” Jean in a way. But Maddie rises above that swiftly by being a super strong, super cool character in her own right. She’s a pilot, she’s fearless, she’s adventurous, she’s got a mean right hook, and she’s got a tragic backstory when she crashed her plane and cost the lives of over three hundred passengers. She gets involved with Scott and by extension the X-Men, and she holds her own despite having no powers. Weird fact, this means that some of the X-Men, like Rogue, met Madelyne before they ever met Jean. She also gets a cool story where she gained healing powers, and the reason her powers specifically took the form of healing is because they were what she wanted them to be. She’s a good person, and also a total badass. Then, Jean came back, and the Powers That Be wanted her back together with Scott. But Scott was married to Madelyne. Rather than have them get a divorce or something, it was decided Madelyne had to be very literally demonized and then murdered, because we can’t just have two women co-exist, no, they must be divided into a “good” woman and a “bad” woman and fight over a man. Actual quote from Chris Claremont: “ Then, unfortunately, Jean was resurrected, Scott dumps his wife and kid and goes back to the old girlfriend. So it not only destroys Scott's character as a hero and as a decent human being it creates an untenable structural situation: what do we do with Madelyne and the kid? ... So ultimately the resolution was: turn her into the Goblin Queen and kill her off.” So, after something like EIGHT YEARS of being a character unto herself, Madelyne gets retconned as actually having been Jean’s clone all along! Which, okay, does make sense, certainly more sense than ‘this woman just happens to look EXACTLY like Jean and hook up with Jean’s ex” but then the REASON that Sinister cloned her...is nothing to do with Maddie or Jean themselves. Madelyne’s creation isn’t ABOUT her the way so many other clone/created-in-a-lab type stories are, like Laura Kinney. She wasn’t important. She was made literally just to have a baby with Scott, the BABY is what’s important. She is REPEATEDLY called a “brood mare” in fact (a female horse used specifically for breeding) So basically, her only value, her only REASON for existing, is her reproductive capacity. A lot of people think that Madelyne either found out she was a clone and went crazy-evil, or she went crazy-evil when Scott went back to Jean. That’s not what happened. Madelyne goes through a long, long series of arduous tragedies that piece by piece dehumanize and violate and traumatize her, and even then she doesn’t become evil until she’s TRICKED into being infected with demonic energy. Being “evil” was NEVER her choice, and everyone forgets that. See, first Scott walked out on her and the baby. Then, the Marauders attacked her, nearly killed her, and stole her baby and left her for dead in a coma for months. When she woke up, her baby was still missing, and she rejoined the X-Men to help them while they also helped search for her son. She sacrificed her LIFE alongside them to defeat the Adversary (yes, the same one Haven was pregnant with!) and then was resurrected with them too by Roma (yes, same Roma). She continued to work with the X-Men, despite the fact Scott had left her, and used her tech expertise to be the X-Men’s computer gal in Australia. When she saw X-Factor on one of the news monitors, including Scott with Jean, she realized why he’d abandoned her. She punched the screen and the explosion knocked her unconscious. While she was knocked out and dreaming, the demon Sym invaded her mind showed her a few different reflections of things she could be, one of which was a demonic reflection of herself. She chose that one, saying “What the heck, it’s only a dream.” And then Sym infected her with demonic energy. So she literally JUST found out her husband left her and their now-missing son for another woman, and she thinks she’s dreaming so yeah she picks the idea of being a demon IN THE CONTEXT OF A DREAM, A FUCKING FANTASY, WHEN SHE’S GOT EVERY RIGHT TO BE PISSED and oh well now you’re gonna be evil for real honey you don’t get a choice. Serves you right for being angry even for a moment, woman! But even then, she didn’t instantly turn evil. Horrible shit had already happened to her, but she still held out…so of course, more shit happened to her. While she and the X-Men were trying to help an escapee from Genosha (which was still enslaving mutants at that point) she ended up captured herself, and since their readings indicated she was not quite human (though what exactly she was, they didn’t know) they tried to put her through the “mutate bonding process” that would enslave her too. As a result, her latent psychic powers finally manifest, and she telekinetically explodes the place. From there, we start seeing big hints that something is going really wrong with Maddie, she seduces Havok and she’s entered into a secret bargain with the demon N’astrih, who promised to help her find her still-missing son (whom she still wanted to find and save at that point because she was still mostly herself) and of course, that bargain transformed her into the Goblyn Queen. After this transformation, though, she STILL had not gone past the point of no return. That didn’t happen until she met Sinister and she found out the truth of her origins—-not only was she a clone of Jean Grey physically, the few memories that she had also came from Jean, and her emotions from Scott had been PROGRAMMED into her (meaning she never had a choice at all in the man she loved) and it was all to be a brood mare, to produce a child with him. Only then did she go off the deep end completely, and agreed to N’astrih’s plan to sacrifice her own son (who he now found and gave to her, as this was his plan all along) because it was the absolute BIGGEST fuck you she could give to Sinister and to Cyclops. And like, yes, that’s evil, but given at that point she was not only magically infected/corrupted with demon energy AND insane with trauma that had been building up for months if not YEARS of development…she basically had a better excuse than ANYONE in all this who was also corrupted by Inferno. Yet she’s the one who doesn’t get a break. The unfairness is just…staggering, really. Even her death isn’t without indignity, violation, and depersonalization---she tries to commit a murder suicide, linking her mind with Jean’s and killing herself so that Jean will be dragged down into death with her. Jean, who really is the kindest to Maddie, urges Maddie to live instead, but Maddie’s last words are “not in the same world as you”. Jean survives. Maddie does not. And then...Jean takes Maddie’s memories and psyche into herself. It’s meant as beautiful, but to me it’s a heinous violation. Maddie wanted nothing more than be APART from Jean, so much so she KILLED HERSELF, and now Jean has made her a part of her forever, and we’re meant to applaud this? It’s DISGUSTING. Madelyne gets resurrected in the 1990s by Nate Grey, but it turns out that was an accident on his part, his mind was subconsciously seeking...Jean Grey, of course. And we he finds out he’s the one who brought her back to life, HE TRIES TO KILL HER. Jean stops him, but it’s no wonder to me that poor Maddie runs to the arms of Sebastian Shaw...who, of all people, actually treats her as an individual from the get-go and ends up being a pretty good boyfriend to her. Never even tries to use her in any evil schemes, it’s crazy. Madelyne has come back and died again and come back a few times since then, but she’s never really been “Maddie” again, whether it was brave adventurous Badass Normal pilot Maddie who just wanted to help people, or the bitter, conflicted, morally grey Maddie of the 90s. No, she’s just....she’s not even Goblyn Queen anymore, she lacks the pathos, she’s just this sexy evil misogynist caricature of herself and I hate it. I really love Madelyne Pryor. She came into this crazy world as a normal human, and when she got pulled into superhero shenanigans she held her own. She was a badass, she was a spitfire, she had a huge heart. She deserves a lot better than just being a gross Sexy Evil Lady with no personality, especially since she no longer has the whole “demonically possessed” issue going on. It’s just stupid and sexist at this point. I personally love original 80s Maddie, and also 90s Maddie where like...this shit has happened to her and she’s darker for it now, and understandably so, but she’s also still HER. Like, she leaves Sebastian Shaw not because he ever treated her badly, which he did not, but because he was doing things that could hurt OTHER PEOPLE, and that was where she drew the line. She was an enemy to the X-Men now or at least really hated them, she killed Threnody for bringing up her past as being “bred to breed”, but she also wasn’t about to be with a man who would risk the lives of millions of innocent people with his schemes, no matter how well he treated her, no matter if he was the one man who ever saw her for HER. Real Maddie is INTERESTING and Real Maddie is GOOD and I want Real Maddie back so she can call everyone on their shit and then go off and live her best life instead of being eternally dragged back into pointless villainy by authors who can’t think of anything better! MEGGAN PUCEANU - As with Madelyne, she’s maybe not UNKNOWN per se, I mean she’s one of the lead characters of Excalibur, but I also don’t think she’s an A-lister at all either. I’ve written about her HERE and HERE and her relationship dynamics with Brian Braddock/Captain Britain HERE so I feel like those links will probably be better than another novel like I did for Haven and Maddie! CATSEYE AKA SHARON SMITH - The deaths of all the Hellions were a tragedy, but Catseye is the one I found most interesting and with the most potential! I’ve written about her HERE and the Hellions in general HERE with a segment on her. She’s just so cute and innocent and INTERESTING, I want to know so much more about how she behaves, how she perceives the world and interact with others, how she gets on with her teammates, how she reacts this and that, I just love her! MINDMELD - Appears for only one issue, is arguably the first transgender mutant in Marvel, and also a total badass who I think is really sexy. I write more about her HERE and HERE. HONORABLE MENTIONS I’m not freaking out over these girls AS MUCH or AS CONSISTENTLY but they all have a place in my heart!! Really all it takes is someone MENTIONING them to get me revved up all over again!

THRENODY AKA MELODY JACOBS- Another Marvel gal who can’t catch a break, when she’s remembered by anyone at all. I wrote about her HERE prior to her most recent return in Deadpool, then HERE about said return. I just really, really want Threnody to be happy. She’s suffered enough. Admittedly, that could be said for most women on this list, maybe all of them. GOSAMYR- Wrote about her HERE! Most people who know of her at all typically hate her but I find her extremely interesting. She’s like everything people HATE about women, every stereotype of “toxic femininity”, but then this is explained as part of her culture and biology, and this is, to her, what is normal, and how is she to KNOW that everyone acts nuts around her when she has no basis for knowing how they act when she’s NOT around? She interests me in the questions and dilemmas she raises, and I just kinda have a thing for women we’re supposed to hate because of their feminine traits. KWANNON- The Japanese woman whose body Betsy Braddock had for years. I was very excited when she was brought back to life and given her own series, I wanted for her at last to be a CHARACTER with her own PERSONALITY and LIFE that wasn’t just an excuse to give a white woman a ninja makeover, and then I got...Fallen Angels. And she’s just...she’s literally just 90s Psylocke. I was very disappointed. But I still like Kwannon HERSELF in terms of potential, and now that she’s back maybe she’ll become a real person sooner or later. SATURNYNE AND SAT-YR-9: Wrote about them HERE! I really like Sat-Yr-9 as a villain (I especially enjoyed her short stint in the Hellfire Club as White Queen with Viper as her lieutenant and not-so-subtle girlfriend) and I like Saturnyne as a sort of celestial bureaucrat, someone who isn’t a force of good or evil but a force of ORDER, like the opposite of “embodiment of chaos” type characters. MURMUR AKA ARLETTE TRUFFEAU: I have not written about her before but HERE IS HER WIKI ARTICLE. As with Gossamyr, she seems like the “sexy shallow slut we’re supposed to dislike” type, so of course I like her. BIANCA LANEIGE- A Generation X villain who bore a grudge against Emma Frost from her days in the Hellfire Club, I wrote about her HERE. She’s pretty comedic as a bad guy, but that’s not a bad thing! I’d like to see her around again one day, either as silly as ever or made more serious. LIFEGUARD: Wrote about here HERE. She was in the first X-Men graphic novel that I bought and I’ve always had a soft spot for her since. I really liked that she didn’t give a shit when she found out who her bio-father was, it’s such a refreshing reaction compared to the usual “what if I’m just like my father/I can’t believe I’m adopted/etc” angst. Comparatively, she’s super upset about her Shi’ar lineage, because that actually altered her INTERNAL self when it manifested, she started seeing everyone around her as PREY and I reckon that’s pretty distressing for someone like her. Always wanted to see her come back; she’s in the background at a Krakoa party! SILHOUETTE CHORD: Wrote about her HERE and HERE. I just like her I guess! She’s maybe not obscure per se since she’s a main cast member of The New Warriors, but I’ve never really seen her get any attention. BLACK MAMBA AKA TANYA SEALY: Wrote about her HERE! THE ASP AKA CLEOPATRA NEFERTITI: Wrote about her HERE! SKEIN AKA SYBIL DVORAK: Wrote about her HERE and HERE! She was on the “Woman Warriors” team with Black Mamba and Asp, and I like the idea they just hang out as friends a lot!! ANACONDA AKA BLANCHE “BLONDIE” SITZINSKI: Wrote about her HERE! I just want her to hug me...really, really hard :) SHARADA DARTHRI: A minor villain that shows up during the “all female X-Men” team era in...2013, I think? Wrote about her HERE. DRAGONFLY AKA VERONICA DULTRY: Wrote about her HERE MANTIS : Despite the fact that she’s very well-known for her film version in Guardians of the Galaxy, most people don’t seem to know much at all about her comics version even though she’s been an Avengers member since the 70s. Wrote about her HERE and HERE and HERE, someone else writes about her HERE PENDING These are characters that I have not had the chance to personally read up on myself yet, but I want to! Their names link to their Marvel wiki articles! TOPAZ FIREBIRD SNOWBIRD SILVERCLAW There are honestly countless others I’m probably not remembering but this is a good handful I think! Oh, yeah, and also...COOTER. Because her name is COOTER oh my god.

[synthient]

The Key to Understanding Deltarune: The Halloween Hack

So we’re currently in the middle of a 4000 year content hiatus

Which is unfortunate, because ever since the big iconic Halloween-day surprise demo drop, my brain has been rattling a baseball bat against the inside of my skull and chanting “CONTENT, CONTENT, CONTENT”

Undertale was like candy for the thematic analysis side of my brain. I still wake up in a cold sweat some nights going “fun value......he put a quantitative value on fun.....numbers going up.....”

I am desperate to know what kind of themes Deltarune is going to tackle. Can you effectively predict that from one (1) 3 hour demo? No. Does my brain care? No.

Which is what lead me to the wonderful world of intertextuality, or examining how a media text is shaped by other media texts

It started out with a kiss, how did it end up like this with me doing a playthrough of EarthBound, the video game that Toby has cited as his biggest inspiration for Undertale

That was fun & interesting (the “throwing away an emotionally engaging experience to grimly make Numbers Go Up” thing feels a lot closer to home after trying and failing to get the sword of kings), but it didn’t provide much insight into Deltarune, specifically. It wasn’t enough. I needed more. I was willing to dig into literally any intertext (except Homestuck, which no force on this earth can compel me to read :) )

anyway thats how I ended up playing Toby Fox’s high school fangame

And somehow (sorry Toby) I walked out of there with an unironic theory (a game theory....if you will....): Deltarune is Toby’s adult reexamination of the Halloween Hack.

What is the Halloween Hack?

You know that thing where, like, people take the engine of a Pokemon game and edit it so there’s a new region and a bunch of new fakemon, and also There’s Swears Now

In 2008, Toby Fox entered a contest on an EarthBound fansite for the best Halloween-themed EarthBound hack

In one sense, reducing the Halloween Hack to a “bad romhack with swears” is a little bit of a disservice. There are some glimmers in there of a really affecting, thought-provoking game, and you can see some of the early blueprints of what would later become Undertale (“do video game ‘monsters’ really deserve to die” is a major theme, and the character of Dr. Andonuts was effectively split up into Alpyhs, Asgore, and Sans)

But it’s also. very much a fangame made by a 16-year-old.

You can read a basic summary of the Hack here. High school-age Toby wrote two pretty extensive analyses of his thought process behind the game. I’ll be referring back to them a lot, and I’d highly suggest giving them a read--Toby’s been so famously resistant to making any Word of God statements about Undertale that it’s kind of fascinating to see him being so candid

an extremely long and rambling examination of How This All Relates To Deltarune

The Halloween Hack opens in the town of Halloween Twoson. Twoson is one of the cites in EarthBound, and here it’s been painted orange. and there’s pumpkins now

See, high school Toby had...a bit of a chip on his shoulder. In the Making Of notes, he explains that he was frustrated that “most people generally thought I was just ‘another funny guy’”. So he designed the opening of the game to seem unoriginally close to the original EarthBound--like “a regular, funny, lazy hack”--to lull players into a false sense of security before the horror elements set in.

Two interesting things there:

“Lazily, unoriginally close to the source game” sounds an awful lot like the Dark World segment of Deltarune

Halloween Twoson looks very visually similar to Hometown

Toby’s description of Twoson also sounds pretty Hometown-esque:

The main impressions of Twoson that I wanted to give the player were: It's funny. It's a nice fall day outside. The person hacking this game is ridiculously lazy. It's a nice place to live. If you look at it a little closely, it's kind of claustrophobic.  

And when does the horror kick in? When the player descends into the underground tunnels beneath the city.

The “horror” in the Halloween Hack is, however, Pretty Not Good.

There’s a whole lot of the flavor text narrator (put a pin in that one) insisting “this is so scary. you’re so scared. your hands shake and your head throbs because you’re so scared.” There’s also a thing where the battle text keeps going “the shambling zombie BITES your HEAD OFF!!! (you lose 15 hp).”

I think the True Lab sequence in Undertale is a decent demonstration that Toby’s come a long way since then (and that Honey We’ve Got A Storm Coming :’) ). But you know what the Hack’s style of horror reminds me of?

My first thought when I beat the demo and saw this stinger was “this looks like an intentionally shitty creepypasta.” Now I wonder if it’s lowkey adult Toby poking a little fun at teenage Toby

The Halloween Hack is a game about railroading. It’s Spec Ops The Line before there was Spec Ops The Line.

According to Toby:

The main theme of this game is the lack of choice. There is really no choice in this game. From the moment you start to the moment you finish, you're destined to kill Dr. Andonuts. There are two endings, but they both eventually end up the same way. It's all a big joke on the player.

You know why there isn't a choice there? Because you already chose to make Varik go into the door. You already chose to go forward. The only real choice, as Varik realizes at the end of the game, is to stop or keep going. By "stop" he means "turn off the game," and that's all you can do. Anything you play is your own fault for playing, and that's the only real choice you can make.

Interesting? Yeah. A little obnoxious? Also yeah.

That’s one of the criticisms people had of Spec Ops. "The atrocities we commit when we feel like we don’t have a choice” is an intriguing theme, but “~the only way to win is not to play~ [the game I worked hard on for the express purpose of people playing it]” isn’t a very satisfying conclusion.

Undertale, in direct contrast to the Hack, is all about choice. It earns the right to guilt you for the No Mercy Run by giving you every opportunity not to go through with it.

But even Undertale plays a little with the concept of railroading--you can’t stay with Toriel; you can’t spare Asgore in any of the neutral runs; you can’t save Asriel.

Now Deltarune seems to be returning full-on to the Hack’s “your choices don’t matter” premise. But it’s going to need to find something more insightful and satisfying to say about it.

Which makes me really curious about this:

If the Hack has a secondary theme besides railroading/lack of choice, it’s The Soul-Crushing Impact Of Internalized Homophobia.

The tragic antagonist, Dr. Andonuts, destroys his own life trying to repress his gay desire. He retreats into a dream world made of his neuroses and trauma, and he’s inevitably Otherized and murdered by the player. He’s something of a dark version of Alphys, who “disappears” into her lab without ever meeting and getting support from Frisk, Papyrus, and Undyne.

Undertale takes an opposite approach to its lgbt themes--the Underground is a utopia where homophobia and transphobia don’t exist. Everyone respects Frisk’s and Chara’s pronouns. Alphys finds solace and healing in her relationship with Undyne.

It’s a heartwarming growth from the despair in the Halloween Hack. And it’s a vision that’s been deeply meaningful to a lot of people. But that doesn’t mean that there’s no value in exploring issues of homophobia. 16-year-old Toby tried to do that, but...wasn’t exactly at a point where he was equipped to handle it with a ton of sensitivity and nuance.

(There’s. There’s a boss battle where you fight the physical manifestation of Andonuts’ gay repression. It’s a crotch. You fight a crotch.)

Some of the hints in the Deltarune demo, however--the Toriel Has Become Catholic thing; the fact that Alphys and Undyne haven’t met and Mettaton hasn’t been able to transition; the potential trans implications of choosing a name only to have it discarded for an assigned one (“you can’t choose who you are in this world”)--make me suspect that’s one of the themes that Toby will try to revisit from an adult perspective.

The Hack is interested in the idea of the flavor text narrator as a distinct, intelligent entity, whose thoughts and goals don’t always align with those of the player character or the player. 

The Hack’s narrator makes a habit of dictating “your” emotions to you (you’re scared; you can sense ‘the monster’ and you want to kill it; etc). The narration starts to seem more and more unreliable, until, as Toby put it, “The narrator starts talking to you personally...rambling about incoherent things.”

At the game’s turning point, you’re given a yes/no choice to kill Dr. Andonuts. Choose yes, and the narrator (mockingly?) calls you a good person, describes the murder you commit, and then narrates what appears to be your (or their? or Varik’s?) psychological breakdown. Choose no, and the narrator tells you that’s not a real choice and redirects you back to the yes/no box. If you press the b-button to try and opt out of the choice (the game’s unofficial subtitle is “Press the B-Button Stupid,” and doing so allows you to follow Andonuts into his dream world), the narrator starts to panic, although the game ultimately ends the same way.

Not to NarraChara Real, but NarraChara Real 

The Hack is also interested in the idea of the player character as a possibly-unwilling puppet controlled by the player (who in turn is controlled by the railroading/their need to beat the game).

According to Toby:  

 As you approach someone you've never met that you're labeling as a monster, your body pushes you forward to kill him. What's funny is that it's not even uncontrolled, it's really just the force of the player's controller pushing that little bounty hunter into murdering Andonuts. You might not realize it, but Varik is almost dead, and yet he can't stop moving because you keep pushing those buttons. 

The Halloween Hack is, fundamentally, a nostalgic meditation on an existing game.

It’s a little obvious to say, but the Hack isn’t a standalone game. It’s a hack of EarthBound.

Toby writes:

EarthBound dominated my childhood, shaped my preteen years, and played a large role in molding me into the offbeat pseudohippie I am today. It gave me a sense of humor. It helped me learn how to read. Its lessons served as a basis for my sense of justice and courage.

But at age 16, Toby’s feeling about the game that had shaped him were a little mixed. He describes “the staleness of a fifteen-year-old video game” as one of his motivations for making the Hack.

In Deltarune, he (kind of hilariously) has Alphys parrot his teen-self’s “staleness” line:

(I could write a whole meta just on the Mew Mew Kissy Cutie vs Mew Mew Kissy Cutie 2 thing)

Still, Toby’s nostalgia for EarthBound is essential to how the Hack operates. Earlier, I said there were glimmers of an thoughtful, affecting game buried in the “bad romhack with swears.” The most genuinely moving moment in the Hack, in my opinion, is the Onett sequence. 

You wander though a faded, dream world version of Onett--the hometown from EarthBound--while a slowed down arrangement of the Onett music plays. Snatches of forgotten conversations appear on road signs. Various monsters from EarthBound follow slowly behind you, but don’t attack. The only battles are against creatures called “Remember Me?”

The EarthBound characters appear to recognize “Varik” as Ness, EarthBound’s protagonist--or are they recognizing you, the player, as the same person who played EarthBound once upon a time?

The one problem, of course, is that not everyone has played EarthBound. It’s a relatively niche game. The sense of remembrance and regret and loss in the Onett sequence is universal, but being shaped as a person by the specific video game EarthBound isn’t a universal experience.

But in the years since the Hack, Toby has created something with a wider reach than EarthBound. Something that can evoke that sense of memory and nostalgia in players. A familiar game that he can take apart, rearrange, and examine in an entirely different light.

He made Undertale.

And now he’s rearranging the pieces into Deltarune.