#anyway i have a lot of thoughts but idk

[mermaidsirennikita]

what your thoughts on title cole's hades hangman series?

My immediate thoughts are that Tillie Cole is a racist who should be actually cancelled (not the weak shit we call cancellation), as in any possible publishing career, indie or otherwise, done. Nothing. I'm honestly worried about the pen name shit I imagine she'll pull or has pulled, because I dread people buying books by her without realizing it's her after all this.

But uh.... yeah. I have zero tolerance for Nazi romances, KKK romances, any romances featuring a racist, genocidal protagonist or protagonists. And I do want to be clear--genocide is what the KKK wants in the end. As is the case for most hate groups. They may say they want people "in their proper place" or "over there instead of here" (displacement being a part of genocide) which is all heinous and unacceptable. However, the reality of the nitty gritty is that they want them eradicated, or at least eradicated from the part of the earth the genocide mongerer feels entitled to, which is most of it. The only alternative, if you could call it that, being that the racist wants the "inferior" race enslaved or subjugated for their own gain (the implicit word usually being "again"). And I think that even the "smallest" breadcrumb of racism can easily tip into these mindsets with some degree of radicalization. So yes, zero tolerance.

I often have seen the "devil's advocate" arguments from "liberals" (white feminists who want to read these books) being "but how is this any worse than books where the heroine falls for her rapist".

And here's the thing--there are a couple books I've read wherein the heroine does fall for her rapist, and I like them still. I'll be clear--these are historical old schools (as in, the 80s) which I don't think came from the perspective of say, a contemporary Sam Mariano book. (I haven't read her books, but I know they can contain this content). I have yet to read a recently published contemporary wherein the heroine falls for her rapist that works for me. I have spoken to people for whom certain books have worked, including a couple survivors.

What I think sets these books apart is that a heroine in a dark romance falling for her rapist, however fucked up and unrealistic, is based on a personal relationship between two people. It isn't about anyone the reader represents, and I don't even really think it's often about gender (though it can be, which I think is probably a line--if a hero is a serial rapist because he hates women, I don't think the reception would be the same). And let's be real here--most of the time, this does reflect real life. The vast majority of sexual assaults are the result of intimate partner violence. It is something between two people, and while I would personally never suggest anyone forgive their rapist and reconcile with them, or frankly forgive them in general... That is something where it is about the one individual and her perspective, and in a romance it follows the same mentality. I may not LIKE that book, but I do see that as a book about harm to a PERSON and within a RELATIONSHIP, which is more individualized.

A KKK hero or a Nazi hero or what have you is often paired with a woman who represents a group he hates (though in Tillie's case, the heroine is a white-passing Latina, a "cartel princess", which lol, ALSO RACIST, but I suppose her complexion is meant to create ambiguity). If he isn't, she's the white woman he is allowed to be with anyway. Either way, he hates a collective. He is enacting violence, physical or otherwise, against a collective. Even if the heroine is of the group he hates, SHE cannot validate his redemption arc~ or "forgive" him. However unrealistic the forgiveness or validation of redemption a rapist "hero" may be, that is a situation where I can say "fucked up, but her choice". This is very literally not something a single heroine can give, and even if the author came from the same marginalized group as the heroine in a genocidal hero book... that author can't speak for the collective either. (I say this because I have heard of authors writing about sexual assault and reconciliation in books state that they're survivors, and I really can't speak on how they work through that on an individual level, but I do think it's important to again note the individual.)

While sexual violence is absolutely a worldwide epidemic, it is NOT the same thing as genocide. Doesn't mean it's better or worse... Though I will say, I think the fact that sexual violence is used as a tool by genocide mongerers does speak to the fact that genocide is obviously a more existential threat, here. And I don't really care for the comparisons I've seen made between the two in discussions of this book and its place in dark romance--because they often seem to be coming from my fellow white women, and I feel there is often a "we're all women, we're in this together" mindset. When the reality is... no. First off, women aren't the only targets of sexual violence, and men are not the only people who perpetuate it. Second of all, not all women experience rape culture in the same way. Cishet white women live under the threat of rape culture, absolutely. But white women don't experience racialized predation. Nobody is trying to "convert" cishet (or simply cis) women through sexual violence. Nobody is killing cis women because they feel "tricked" by us. And for that matter, white women, especially cishet white women, can be the oppressors of women of color, queer women, trans women, and so on. They can encourage sexual violence against women with a single vote--and have. How many white women voted for Mr. "Grab 'Em By the Pussy", again?

So yeah, I don't really like the whole "well this is fine for me to read because y'all read your rape books" discussion of these books when we get into discussion, because these just are very different topics. And I don't like conflating them to either EXCUSE the violence of these books, or once again devolve into a "dark romance readers are universally dirty little perverts". Because--while there are ABSOLUTELY dark romance books that go way too far, which I wouldn't touch with a 10-foot pole... I think there's a point where a book isn't even dark romance, it's just using that as a mask to perpetuate a form of like... artistic violence against an entire group of people.

Because these genocidal hero books are about violence against the collective marginalized group being dismissed, "redeemed" or "forgiven", there's this inherent dismissal of what has happened to potential readers of these books, and I see that as a kind of casual violence. That dismissal happens every day, and it is ESPECIALLY happening right now, when so many western nations (and I'm not denying it's happening elsewhere, I'm just much more aware of the USA, Canada, and Europe) are in the midst of nationalistic far right swings. And hell, let's be real, most people of color are not reading Tillie's books on purpose, I imagine--but frankly, that doesn't matter. Tillie has, I suppose, a legal right to write these books. But I don't view them as any different from the vitriol spewed from a Westboro Baptist Church representative, or the people calling BLM protestors looters.

You just can't slide this shit into a "dark romance is gonna dark" slot, or "why do dark romance readers keep bringing this to us" whine rant. I will bet you anything that a lot of the readers who read this book and rated it a 4 or 5 on GR haven't read a single other dark romance novel in their fucking lives. They enjoyed it because they want to romanticize a guy in the KKK and act like he can be redeemed, because their sick little fantasies about their white prince proud boys are what they're looking for here. This isn't about tiptoeing to the ver edge of dark romance, this is about wanting to bathe in a racist fantasy. It's their Birth of a Nation moment, but with porn.

I mean, what has been really frustrating to me... because obviously outright racists will shamelessly defend Tillie, outright... is just this idea that this somehow has come back to a discussion of dark romance, when really, it should be a discussion of RACIST ROMANCE NOVELS. Which is something that extends faaaaaar beyond dark romance, or any subgenre. I've read a fuckton of racist contemporary romances. Obviously historicals have quite a long journey with racism in books. I've read racism in paranormals, for fuck's sake. I believe one of the big Nazi romances was an inspirational romance. To me, there's just been this dancing around admitting that this is a romance-wide issue, because people want to go "well, it's only an issue with dark romance, MYYYYY favorite romances would never" and it's like. I don't know, girl. People of color are widely underrepresented in the genre (as are queer people and trans people) so maaaaybe just maaaaybe romance isn't your perfect haven where all we need to confront is men being misogynistic. Maybe, just maaaaybe, there are other issues going on here.

[hinamie]

subject, specimen, spectacle;

should i say that you're dead?

[dreamyluigi]

something something luigi doesn't remember the final events of spm or dimentio at all after he's defeated (but mario remembers everything)

[itsmeimcathy]

faust (1858) by charles gounod | le fantôme de l'opèra (1910) by gaston leroux | wuthering heights (1939) by william wyler | la belle et la bête (1947) by jean cocteau | labyrinth (1986) by jim henson | van helsing (2004) by stephen sommers | the phantom of the opera (2004) by joel schumacher | crimson peak (2014) by guillermo del toro | consumed (2014) by david cronenberg | nosferatu (2024) by robert eggers

[proxycrit]

What if I redesigned some horses to fit MY favorite narrative trope: fallen gods and forgotten myths of old? Anyways.

Twilight’s mentor is a strange one. In a world of twilit planes forever shrouded in mystery, the older unicorn Lest and her adopted student Twilight are one in many common travelers, migrating the pitted wastelands and eeking survival within settlements that spring up around the glowing meteor shards. Despite living with Lest for the last four years, Twilight can’t help but seek answers to where her brother has gone— and in the process, perhaps dig a bit too deeply into the complexities of gods far older and dangerous then she can truly fathom.

On the otherhand, Celestia “Lest” Sol is having a terrible millenium. Her sister is no longer her sister, her student teleported herself halfway across the continent, and she got herself kidnapped by an old rival trying to attune with the elements of harmony to overthrow the current ruler of Equestria.

At least she gets a toxic yuri moment.

Meanwhile, Chrysalis is having a great time. She’s got kingdoms to conquer and people to feed and a waning god to taunt.

(The Selene Grace hates the sun monarch they deposed five centuries ago as they stay chained to their post, keeping the lunar and solar bodies from crashing into each other. Luna misses her sister, and the easier world where they haven’t hurt each other beyond reparation. Nightmare Moon misses their monstrosity, trapped in a host who’s grief has poisoned them with empathy.

Things are bound to tip. The celestial bodies are not bodies, but prisons, and the amalgamations we call alicorns the key. And something desperately wants to be freed…)

Anyways:

My mane 6 redesign here!

And my luna and celestia redesigns here!

[journey-to-the-attic]

one thing about ik is that she will always reach out

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[idontmindifuforgetme]

I genuinely love not having a crush like I’m not over here feeling physically sick over some mid guy being dry to me I’m literally chilling

[captaincrowe]

Anyway, after watching the Wicked movie again, I think my ideal outcome of the love triangle in a canon divergence scenario is "Gelphie and their free-range boytoy Fiyero who comes and goes as he pleases."

[urpersonalpublicgalaxy]

trying something out

[deoidesign]

One of my first digital pieces (2010) versus one of my recent ones (2024)

We all start somewhere!

[storytellering]

Torn apart. Inspired by Romeo and Juliet by Sergio Cupido

[cacaocheri]

this might be spoilers for my fic but this is how i imagine a future chapter of daydreamers would go. tbh though this comic is mostly just me exploring the dca's role in childcare and how they could absolutely get away with saying "we" a lot without any suspicion of them sharing an entity

[xxplastic-cubexx]

How would you redesign Headmaster Magneto? Just out pf curiousity because while he served it didn’t feel like… Erik.

i have to keep it 100 i have no idea without just. rerunning his original design but with a palette swap LOL but we try around here

[katabay]

THE JETSET LIFE IS GONNA KILL YOU, ERIC CARTER!

my laptop charger uhhhhhh. met its end in a very permanent, very fire hazardy kind of way last week. while waiting for a replacement I decided to try and get some work done at the library and was asking around for some urban fantasy (extra points for a mystery plot of some kind) recommendations to check out while I was there

the eric carter series was mentioned a couple of times, AND had the added bonus of having a necromancer for a main character. I love necromancers. someday I'm gonna play one in a game instead of immediately defaulting to vampires.

Fire Season, Stephen Blackmoore

[catkin-morgs-kookaburralover]

if you struggle with mental health, one piece of advice i would genuinely give you is learn to knit.

or crochet: something repetitive to do with your hands, assuming you're capable of it. if you're like me and learnt to knit as a kid but let it lie fallow for a long time, it may be that starting a large, simple project (for me it was a cloak, but a blanket could work too) gets you back into it. or maybe doing something smaller, idk. i personally found socks really hard for a while because they felt smaller than my cloak but weren't getting Done quick enough for me. as i've sped up i find it more interesting to knit socks.

regardless, a repetitive task is great for emotional regulation (also see: autistic stimming), and something that you can look at and go hey i've done something, unlike simply using a fidget toy, can also help to pick your mood up when the brain is being cruel.

it's also useful as a conversation starter or distracter if you don't know what to talk about. if you're wanting to talk to older people also you're more likely to reel them in with knitting (i work better with older people, and 99% of people who ask what i'm knitting are older than me). it also gives you the opportunity to not make eye contact because you're busy knitting, even if you're still carrying on a conversation. if you're absolutely stuck for conversation you can count your stitches and people might stop bothering you.

if you have trouble focusing without doing something with your hands, you can knit! i knit a lot in church, and it helps me to focus on what's being said.

i probably have more reasons you should pick up knitting, but i can't recall them right now, so yeah.