#art for a novel that doesn't exist yet

[toaster-fire-art]

been drawing an obscene amount of these two as school eats me alive but hey! I got a job on my uni campus so I am so happy I get to quit my miserable one. This is now my little treat in celebration.

[buttercupshands]

just played some Case Files with LoV part in it and just thought about a giant project like "every LoV filler ever in ANY media"

like games, manga (including those SMASH!! pages) or irl events (like ONE of LoV seyuu playing as LoV without any real footage of it) and most importantly - Ultra Impact events, but sadly I don't have ALL of them of at least I can't share jp server events that I know at least one happened before global started

I'm not that good with knowing what Ultra Rumble has as something special other than emotes, some phrases or outfits and I don't exactly play it

One's Justice 2 (the one Horikoshi named chapter with Hawks and Twice after) on the other hand has literally tons of interactions from just battle things and recruit talks that depend on your trust of something level to Arcade where defeat and a win give you a mini dialogue and LoV has levels with each other

the only problem with the latter is that I either did level them all up too much already and it would be a pain to lose progress or I'm not really interested in doing already hard to make screenshots one by one FOR EVERY SINGLE LOV FIGHT twice.

But since I've never found actual archive of those things aside from occasional video of Plus Ultra attacks or voicelines without any subtitles for jp vers or again Plus Ultra attacks only for the new characters... that's either worthless or it doesn't matter as much

Still! While 1-A class fillers and stories are so easy to find - literally in the novels or 90% of SMASH!! and Team-Up Missions (and I saw one thing that suspiciosly had LoV in there but still looking through it) while anything semi-canon or at least that can be considered such with LoV is either serves it's purpose in the final arc of the manga now or is actually hard to find since wiki doesn't actually keep up with the official games

maybe it's just an excuse to show little things that Ultra Impact keeps as it's canon for events like Tomura being good at poker and it first was in his "holiday story" and then it appeared in the event much later chronologically with MLA already working with LoV

Also if I remember correctly there are multiple vids with LoV somewhat main point of focus and there are still cool (like that one part of Peace Sign with villains suddenly being there for couple of seconds)

but meh... it's still just 1 am thoughts mostly

[aroaceleovaldez]

okay last one for the night but. honestly i really hate how the franchise has been using loyalty to Rick as a shield for so long. If Rick was involved in a project or not doesn't matter, especially not anymore.

ReadRiordan and the publishing for the franchise has been using this tactic for ages - they obscure if any writing related to the series wasn't written by Rick unless it's special circumstances. It's near impossible to find out who the ghostwriters are (Stephanie True Peters and Mary-Jane Knight). TSATS was promoted as the first time we got a non-Riordan (Rick or Haley) author working on one of the companion novels despite having seven already existing ghostwritten books in the series. The only reason Mark Oshiro was emphasized so heavily for TSATS was because they also work as a sensitivity reader for topics such as queer identity, and Rick had received backlash in the past for being a Straight Cis Old White Guy repeatedly falling into bad habits (that he hasn't broken out of) with certain characterizations that he kept doubling-down on or retconning into oblivion. The show emphasizes that Rick was involved, but the LA Times article brings into question exactly how much he was involved, and it doesn't even really matter either way. The ReadRiordan site actively avoids putting any writing credits on their articles (or art credits...) or anywhere on their site.

Practically the entire fandom unanimously agrees the musical - which had zero involvement from Rick - is the best adaptation of the series so far, including the TV show. Some of the best writing to come out of the series recently was the stuff ghostwritten by Stephanie True Peters (Camp Half-Blood Confidential, Camp Jupiter Classified, Nine from the Nine Worlds, etc). And yet when promotional stuff is posted about CHB:C, there's clearly coded language used to hide the fact that Rick himself didn't write it. Yes, that's how ghostwriters work, but at this point we should really stop pretending "Rick Riordan" isn't just a pen name for a group of authors like "Erin Hunter" and that Rick is actually writing everything in the series. I can easily look up and see which Animorphs books were ghostwritten, and who those authors were. I can find every "Erin Hunter" easily listed on official sites. And yet most people don't even know the Riordanverse franchise has ghostwriters at all.

And the franchise is still trying to use the "Tio/Uncle Rick" stuff. Author loyalty and marketing parasocial relationships isn't going to save the franchise when the author himself can't hold up his own original themes or even keep basic series bible details straight, and especially not if the editors are barely if at all doing their job. And please at least get a goddamn series bible by this point.

[coldzonkprofessorturtle]

An Affair to Remember

Alright, let's get into Affair the Series, which has been giving me brainrot the past few weeks so feels like a good time to get into an analysis of why I find it so fascinating. Eventually I'd love to do a deeper dive into Thai GLs and that industry (that's a whole other thing though) but after having seen my share of them (Gap, Show Me Love, TSOU, The Loyal Pin) I've really found myself falling into the rabbit hole with Affair the Series and the way it depicts friendship, love, and acceptance.

Deep dive below and also thank you gif makers for your work 🙏🏽

(also will go over events from episodes 1-5, so spoilers ahead if not up-to-date)

So first off, I have read the novel, which is the first time I've finished one of those for a GL and quite frankly, the translation wasn't that great but the story still came through. I won't refer to it much and will base this on the show as I think they've done a fantastic job with the adaptation and fingers crossed continue to do so.

Where in most GLs the core conflict is external. The main couple can't be in love typically due to familial/cultural pressure or a man interfering (that still exists to an extent here) the main conflict in Affair is simply that Wan and Pleng love each other too much but they do so in different ways.

When we meet Wan and Pleng they're 17 years old and have spent their entire lives together. They're sisters but not and while Wan seems to have a social circle, Pleng really has no other friends outside of Wan. The spoiled rich girl and the maid's daughter. Couldn't be more different if they tried and yet by circumstance their lives are as intertwined as it gets.

At 17, they have different ideas for their futures. Pleng is musically talented, wins every contest and is financially set. She can live the life she wants. If she wants to be a musician then so be it. Her parents love and support her and there's no pressure. Wan on the other hand has an overbearing mother (and a resentful father), no prospects for her future but at least she has Pleng.

Despite her parents, Wan loves wholly and openly. She knows she loves Pleng and while she doesn't yet know it she does know that Pleng loves her too. I would argue that Wan truly knows herself, which is why she comes across as so self-assured in their younger years. She's slowly trying to guide Pleng to understand herself too.

Pleng, however, has never had to sit with her emotions in the same way. Take this as differences of personality, class and upbringing. Now that they're 17 and entering adulthood, Pleng has to start engaging with the world (and her emotions) rather than hiding behind the rich, insular lifestyle she's had up to this point.

As the idea of boyfriends comes up, Pleng starts to lash out. She's jealous, she's pushy but really she's just in love with her best friend and doesn't know it. Everything starts happening too fast. Wan meets a boy at an art gallery, Aunt Wi pushes Pleng to help Wan get with Ek, Pleng's dad is extremely stressed and she doesn't know to what extent and throughout that Pleng is dealing with her feelings that for some reason just won't go away. Feelings that Wan keeps bringing up in her over and over.

Pleng is a mess. She doesn't know how to connect with her peers, she knows something is wrong with her dad, she sees that Wan is seemingly moving forward in a way that she's not (dating a boy) and whether she realizes it she continues to isolate herself.

From Wan's perspective she couldn't care less about dating Ek. She's already completely devoted to Pleng (in ways that Pleng doesn't even know).

They're 17, hormonal, gay, and incapable of seeing each other's perspective. Wan wants Pleng to let her in. Pleng can't help but push everyone away.

As soon as Pleng starts to really come to terms with her feelings about Wan. That's when everything falls apart. Her dad kills himself, her mom goes into cardiac arrest, all of her family's assets are seized and she's now orphaned and staying with Wan's parents who clearly and vocally have no space for her. Pleng who was already struggling to find her footing before that fateful night now has absolutely nothing to stand on.

The break point is when Pleng finds out about Wan's academic achievements and that Wan had been hiding that truth about herself their entire lives. Wan has always been intelligent and capable but hidden herself behind a veil of ineptitude. Wan in loving Pleng puts her on a pedestal to her own detriment. She has no issue blighting her own light so that Pleng can shine but from the moment we meet 17 year old Pleng in the show we see her pushing Wan to better herself. Wan thinks loving Pleng means her own success doesn't matter whereas Pleng loves Wan and all of her potential.

They both love each selflessly but while Wan would burn the whole world to keep Pleng warm, Pleng loves Wan despite her own existence. So when Pleng leaves she writes,

"Your parents will feel at ease. And you'll finally get to live your life as your true self... I know you love me but I also want you to love yourself. And be proud of who you are."

For Pleng, her leaving is the ultimate way to show her love to Wan. A clean break. She runs away so Wan can thrive but here's the thing Wan needs Pleng to keep her grounded. Pleng does too but she can't see it at this point. Too much has happened and so, in her desperation she removes herself. She is her father's daughter after all.

So when 13 years pass and Wan has spent that entire time holding on to whatever she can to keep herself close to Pleng (becoming a doctor, riding a bike to work, marrying Ek, separating herself from her parents); Pleng has become a ghost of herself. Wan has imbued herself with all the things she thinks/knows Pleng would like while Pleng is stuck in a cycle that she can't get out of: play music, make a bit of money, pay rent, rest, repeat.

Pleng never reaches out to Wan because why would she? Her loving Wan means staying away and on top of that there's a sense of shame of what her life has become.

So when they finally meet again it's too much. Wan is successful but she's still clearly in love with Pleng and while it was all Wan's doing, in a way her success is a direct result of Pleng's influence. In removing herself, Pleng slowly begins to realize not just that she took Wan's smile with her but the why and how. Wan's changed and devoid of the joy and innocence that Pleng loved most.

They slowly fall back into their natural rhythms but Pleng still can't accept her own presence in Wan's life. Wan is back to pushing (albeit more aggressively then before - time was wasted) and in pushing Pleng, Pleng pushes back. If they take their relationship that one step further, what then? What if it falls apart? Why not just stay in a cycle where nothing shifts? What if there's another ringing shot in the distance and everything changes in a moment?

If there's one core trauma to Pleng as a character it's her desperation to not feel like a burden to anyone. Especially Wan. And then she finds out that Wan (though separated) is still married to Ek and she can't accept that she could have ruined Wan's potential happiness. Not understanding that Pleng herself is Wan's happiness. Pleng feels like a disruption because at the root of it the thing she wanted above all for Wan, "I also want you to love yourself. And be proud of who you are" is not something that Pleng accepts for herself.

I'll leave it there and hope the show navigates the situations that are about to come as well as they have so far but kudos as Affair manages to oh so gracefully skirt what could otherwise be an incredibly toxic relationship. Somehow they manage to give these two characters so much grace despite their flaws. And truly that's also a huge credit to Sonya and Lookmhee's abilities.

It's chaotic and messy but in coming back together these two might just realize that's how they both best shine.

[shalotttower]

Equations

Title: Equations Characters: L Lawliet x Reader (female) Summary: A short snippet of Reader and L moving places. Probably can be counted as imagine. Word count: 990+ Notes: yandere L, kidnapped Reader, captivity, L and Reader were together at Wammy's House, Stockholm Syndrome, L is being a shithead gremlin.

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it keeps no record of wrongs.

You're not religious at all, but those words glimpsed once on a bookshop wall stuck in your mind when Wammy's House stayed behind, somewhere in-between the pages of your journal, so carelessly flipped through by a boy with a blank expression, who had and still has no idea what those verses mean.

"What is it?" you ask, when Watari enters your room with a suitcase.

"We're leaving in an hour," he says. "Get ready, please."

You don't argue.

L doesn't have many rules, and most of those existing are unspoken. Some can be bent, some can be bargained and twisted into an illusion of freedom until it snaps. But if Watari comes in and tells you to get ready, you obey. It means you're moving somewhere else, another place unknown. So you pack: clothes, shoes (just two pairs, there's nowhere to wear them anyway), hygiene necessities which fit neatly inside one single bag.

When you get in the car, L is already there, looking through the window. The glass tints everything a tone darker.

Watari starts driving.

The first time you used it as a chance to understand where you were, memorize the road signs, the turns. By the eleventh you stopped caring, because it didn't really matter ─ even if the whole world map was imprinted inside your head, what would it do?

So you lean against the seat and watch the cows in the pasture on the right. Everything is green and yellow outside. Some rural town probably ─ a happy little world tucked away. A small part of you wishes to exit this car right here and now, just to see what happens. Intrusive thoughts are like that sometimes. They pop up and disappear without a reason or logic behind.

The sun is bright.

There's a church up ahead, with freshly painted doors and windows which have a stained glass pattern of white lilies among golden rays of light. A beautiful work of art put onto display for whoever cares enough to look.

You wonder: if God existed, what would he think of L's fingers curling over yours. The touch is barely there at all, yet you feel it down to your bones.

Love is patient, love is kind. His thumb brushes over your knuckles.

"What are you doing," you ask flatly, not expecting a reply. It's a reflex, like the knee jerk reaction, to ask him questions, because otherwise who knows what's there in that shaggy-haired head of his.

"Holding your hand," L says.

"I can see that. Why?"

"Why not?"

"That's not an answer."

"Then ask a better question."

You turn to look at him and immediately regret doing so, because his eyes are wide and focused, and you can see your own face reflected there. Between his bony fingers and yours are lifelines crisscrossed together by a forceful hand.

"Stop that," you tell him without much heat behind.

L doesn't look away, nor does he stop staring.

"Stop what?"

"That."

"If I knew what you're referring to, I'd probably have better chances of stopping it."

L tilts his head to the side. So that's what it is. One of those times when he feels a tad more playful, a bit more nagging, and tries to drag you into a verbal game that doesn't end until you surrender and let him have his way.

The church is long gone by now, and the cows too. Just empty space surrounded by trees which line up along the sides of the road.

You wish you were tired enough to nap through the rest of the ride, but since Watari brought a humidifier for your room, your night sleep has never been better. That leaves reading, and you pull an e-book from your bag to continue the novel started a few days ago.

You feel his head lean closer to your shoulder halfway through chapter six. His hair has grown a bit and tickles.

"Find your own book," you murmur and flip to the next page.

L hums and stays in place.

Ten minutes pass, then fifteen, he doesn't move and you wonder ─ when. His fingers are linked loosely with yours and you haven't tried to pry them off yet. Why haven't you?

When did you start tolerating his presence to this extent?

It's quiet save for the tires noise. Your index finger taps a pattern against the screen. Tap-tap-tap.

"The killer is-" L begins right when you get to the chapter nine.

"-male-" he continues despite your elbow hitting his side.

"-mid-thirties, dark hair-"

You slam your palm over his mouth, and the e-book falls from your lap onto the car floor. L blinks once before licking your hand like he's five years old instead of twenty three stepping into twenty four. You yelp and wipe it off against your jeans while Watari coughs in the front seat.

"You-" you catch yourself mid-sentence, then take a deep breath. "I would appreciate if you didn't spoil the books I'm currently reading."

Or movies you're watching; or games you play; or anything at all really whenever it catches your attention long enough to become invested. He doesn't do it often when he's on a case, but off those L tends to get very bored very quickly and finds entertainment in your reactions.

His lips twitch, and you know 100% percent that he's going to do it again until you give up on reading altogether and spend the rest of the ride talking to him instead, though "talking" is a loose term here. More like indulging whatever topic L decides to fixate on this time around, because if you ignore him, he will be just as content with staring at you for hours on end with nothing but silence between you both.

[flythesail]

Everything about the Acolyte cancelation just feels so off. I want to be hopeful when seeing the strength of the renewal campaign or even the number of big news sources writing about it, that something like a wrap up movie could be possible, yet nothing about this situation says "normal."

There were reports from so many places (with no evidence) that Acolyte merch was intentionally taken offline. (For the record, nothing came up when you searched "Andor" either.) Then soon after, the merch is back. (Presumably because it was out of stock.) What I find surprising is that the news spread like wildfire. Why? When for most of its existence, the Acolyte has been thrown under the bus - from review bombing to racist attacks from so called "fans" - why was everyone suddenly jumping on the cancelation news when doing little to defend or support the show from the start? Merch seems like such a minor thing within the grand picture.

Many, okay most, shows are canceled after one season nowadays. But this is a first just by default of falling under an IP as large as Star Wars. Shows that are not renewed go "quietly." Kenobi was written as a single season. Tbobf might have been up for a second, but after the way it was used as a bridge for Mando seasons 2 and 3, a lack of renewal is not a shock.

There's so much proof the Acolyte was on course to be renewed and the cancelation was not planned. As recently as last month they were looking for directors for season 2. I believe there were reports of a writers room in February.

Lee Jung-jae says in an interview he's surprised about the cancelation, and right after there's "coincidentally" news that Keanu Reeves would have been Master Sol if not for scheduling conflicts. Lesley Headland has ALWAYS said JJ was her first choice. Which says what? That Lucasfilm wanted to punish JJ for showing support for the show that they canceled. This is on top of doing absolutely nothing to protect Amandla from all the disgusting racists on Instagram. This is on top of them announcing Manny for SW Celebration, which isn't until NEXT year. Wtf is he going to talk about?? Thanks for canceling my show last year! I sure would have loved to continue it! The cancelation news was even publicized on his birthday. This comes after recent news for tie-in novels, an art book, and a visual guide.

My best guess would be that plans for season 2 were underway, and a higher up got scared. Of what? Taking creative risks. Or maybe scared of the people who claim to be "fans" and have done nothing but trash the show from the start with no basis.

I'll play advocate, what if it was just for viewership and budgetary reasons? It does cost a lot to make. But then why not adjust the budget? Why not adjust the marketing strategy for season 2? The success of something like Star Wars cannot even be entirely measured by viewership or Disney+ subscriptions, less so a month after the finale. What about merchandise sales or growth over time, as the Acolyte perfectly slots into a space in canon that quite frankly, is unexplored but adds so much to the overall narrative longterm!

Even if the show is expensive, you will never convince me Disney of all companies doesn't have the money for it. Something happened and it happened fast. Whatever did happen, to cancel the Acolyte is a cowardly move. I want to hope it can come back and that this "scrambling" to change the narrative in the media is a sign of regret, yet it's most likely a poor attempt to control the narrative in their favor and push the blame to everyone who actually cares about the show.

At the very least, I hope the response is a wake up call. That Star Wars fans will not stick around no matter what. That you cannot treat your creators, actors, and fans, primarily women and poc, as lesser time and time again and expect them to continue to support your product. This decision is telling in more ways than one. It's unfair and if nothing changes, Star Wars will only get worse from here. Which is disappointing, because I love it and have been a fan on and off since I was 11 years old. But I cannot deny that everything about the way the cancelation is happening feels like a betrayal.

The Acolyte dared to be inventive. It dared to be diverse. Whether that be the cast or those behind the camera, this story was made by and made for people Star Wars has continually neglected, and it still felt like true Star Wars that anyone could enjoy. It was a step in the right direction. If given a chance, it would have only become bigger. When is the last time a Star Wars project brought in new fans like this? You can only retell the same stories so many times before they lose what made them special in the first place. As a true fan, Lesley brought fresh perspective. From Amandla's performance as Mae and Osha, to JJ's performance as Master Sol, which he learned English for. Or Manny as the Stranger, a mystery turned sith turned lead love interest. The Acolyte explored the grey era between good and evil, the decisions that define us, what it means to feel, and the power of that. The Acolyte dared to exist and a cancelation can't erase the fact that it matters.

If you're still reading, please do sign and share the petition. It might not bring the show back, but it is a show of support for the cast, crew, and fans it stood for.

[ninjamelissajulien]

I'm gonna rant about Zane for a moment so bear with me

Zane's Motif is Humanity and Betrayal.

From his first conversations with the group, to his chapter book, to Night of the Nindroids, to Tournament of Elements, to SOG/Hunted/MOTO, to the Ice Emperor, to Crystalized, and now Dragons Rising- there is a repetition of Zane not being human. 'He's not like us'. 'He's weird... no, he's weird weird.'

Going into the Pilot Era (Season 0 through S1E6 The Snake King), Zane was always different in how he spoke, acted, and almost existed. Part of this is the brilliant voice acting by Brent Miller- he/Zane speaks very eloquently, a bit monotone but still full of emotion. "Yes. It was a joke. Ha, ha." "The Golden Weapons have left this realm and are now in the Underworld. The end is drawing near." Zane is blunt in how he speaks, yet internally he's in pain. He doesn't know where he comes from, where his family is, or who is family is. One of my favorite lines is from the early chapter books, Kai: Ninja of Fire. "I envy you." "No, I envy the fact that you know they're gone." Zane, at this point, is orphaned with no memory of his family. Kai decides to drop everything to help Zane find his old village and look for any sign of his past (fun fact: Zane and Kai are drugged in his book, I'm dead serious). Although, they do not find anything to help Zane and his past, it allows the pair to bond and grow closer.

In Zane's own chapter book, he is tempted by Garmadon for information about his past. If he gives up the Golden Weapons (and betrays his friends), Garmadon would tell him about his family and their whereabouts. This is the first of numerous instances of someone in power tempted Zane with something he desires, but to achieve it he would have to betray his friends. Zane is tempted. He misses the idea of what his family could be, the false idea of where he came from. Zane, of course, doesn't fall for it, but it's a lingering wonder of is Garmadon telling the truth? Did he really know who Zane's family was? Were they still alive, looking for him?

My favorite graphic novel, (other than the first volume, The Challenge of Samukai), is Night of the Nindroids. This book, taking place between the Art of the Silent Fist and Blackout, focuses on Zane and his feeling of isolation. Yes, he's a ninja, but he's a nindroid. Is he truly on the right team, or should he be with his own kind? In NITN, Zane is separated from the team and brought to the Overlord (Garmadon calls him a "toaster with attitude").

"What are you afraid of? Or can a collection of nuts and bolts even feel fear? No, you can't. Not fear, not hate, not even love, just imitations of those feelings. You are a robot. But I have the power to make you more! Defeat the other ninja for me, and I will transfer your mind into one of their bodies! I will make you human!" the Overlord to Zane.

On a side note: Night of the Nindroids is an incredibly fucked up concept. Zane would get to choose who's body he would take over, inevitably killing the original person. He chooses Kai, meaning (if) he went through with it, he would be living in Kai's body while Kai himself is dead. :)

Back to the point. Zane is tempted with the idea of becoming human. Of feeling emotions, of being able to get hurt, of "feeling the sun on your skin", of being normal. And, he does agree to work with the Overlord (as mentioned previously, choosing Kai's body to inhabit). He, single-handedly, takes down Cole, Jay, and Kai. Zane, though, doesn't want Lloyd anywhere near the events so he sends him away to bond with Sensei Garmadon, but he also sends Nya on a mission. He knows that Nya is intelligent and needs her out of the way for everything to succeed. Even the cover itself shows Zane's separation from the team; while Kai/Jay/Cole are caught, Zane is in front with his internal systems being revealed. He's even in his damaged appearance, showing the mechanics under his false skin. I won't spoil it, because it is a fantastic graphic novel, but it shows that Zane by himself is incredibly strong and powerful.

Tournament of Elements is the death of Human!Zane and the introduction of Titanium!Zane. In his previous appearance, he was able to pass as a human, unless he was drastically injured, but now, in his titanium form, it's even more obvious that he's different. He has PTSD and panic attacks from his encounter with Death. Zane, at this point in time, is the only one who's died and come back, further separating him from being human. But, I feel like, this could aid in his desire for humanity. He knows how precious life is, he knows how easily things can go from bad to impossible. His whole reasoning for living is "to protect those who cannot protect themselves"- from an outside perspective, it's a way for him to be a hero. But, on a deeper level, its almost a suicidal way of seeing things. He was built to face the danger so others wouldn't. Now, that's just my perspective on that.

The Oni Trilogy brings in Zane's cloaking. A way for him to be human again, while still being himself. He's able to switch between blending into the crowd in plain sight versus being himself. Though this does not change how he acts, it allows him a cover especially for when he needs to be hidden (Snake Jaguar).

Now. The Ice Emperor. Arguably the opposition to Zane himself. The Ice Emperor is what could've happened if someone found pre-pilot Zane and used him for their own selfish desires. Both start out as someone with no memories, no compass, just a lost child. Zane, pre-pilot, finds the village he later lives in and allows himself to be aided. Here, he is given things to do and ways to help others before being given the chance, by Wu, to find and better himself. The Ice Emperor is turned into a weapon. He's not allowed to think for himself, every decision is made and manipulated by Vex. The dialogue between IE and Vex is repetitious. The Ice Emperor is stripped of his humanity, betraying himself in the process. His powers are used to cause pain and suffering, killing Krag's family, freezing the Formlings, and causing a realm-wide ice age.

Even how the Ice Emperor sits on his throne shows how captive he is to Vex. Every time that IE moves from the throne, he has to shatter the layer of ice that forms over his arms/body. He's constantly asleep/powered down, possibly due to the amount of energy the Staff is demanding (especially for holding it for so many decades).

Crystalized is the closest Zane gets to voluntarily losing his humanity. the Ice Emperor was forcefully stripped from him, but Crystalized has him choose to lock his emotions away. He doesn't know how to deal with the grief of losing Nya. Even being with Pixal and Cole can't get him out of his depressive funk. It takes an outside perspective of allowing emotions out for him to see that its okay to be emotional, that being emotional is being human.

[gilly-moon]

Writing a fic set in the Golden Age is WILD because there is such minimal worldbuilding information in the novels but so many implications??

Like, I haven't read the picture books (yet), only the novels, but looking at Joyce's art it seems like anyone from the Golden Age - or who has inherited that magic like the Guardians - doesn't need to breathe. They can just. Exist in space. With no suits or insulated ships to provide oxygen:

Everything follows the same Treasure Planet rules, where you can take a dinghy out into some stardust with no protective gear lol

I'm not really going anywhere with this I just love figuring out the finer details of how stuff like this works in terms of world building. It makes me wonder if Joyce thought 'this is a series about belief and magic, so of course the characters can do wondrous things like breathe in space!' or if somewhere in his brain is the full depth of how their natural ability to exist in space came to be, and how it effected their societies and travel and where the people of the Golden Age built their homes. So much if it is implied in the little details or in illustrations but it just makes me curious to know more!!

[coyotecrackers]

Demon in a Thermos

It’s EI’24 time! Coming at you with a fic that couldn’t exist without the brilliant mind of @ayapandagirl! They made the incredible art that this fic was inspired by!

I truly could not have written this without their incredible insights and wonderful analysis of AGIT! Thanks for being my partner! I had a blast working with you!

And thank you to the mods of @ecto-implosion for yet again running such a fun and amazing event!

Demon in a Thermos is on ao3 now!

TAGS AND SUMMARY BELOW THE CUT

Chapters: 1/1

Fandom: Danny Phantom

Rating: General Audiences

Warnings: No Archive Warnings Apply

Characters: Danny Fenton, Dan Phantom, Vlad Masters

Additional Tags: Post-Graphic Novel: A Glitch in Time (Danny Phantom), Spoilers for Graphic Novel: A Glitch in Time (Danny Phantom), Introspection, Dan is not evil, hes just lost, Self-Worth Issues, Self-Acceptance, Danny tries to help him work through it all, Angst, Angst with a Happy Ending, Conversations

Summary:

!! Post-AGIT Spoilers !!

Danny finds himself face-to-face with his worst enemy... Or... what used to be his worst enemy. The truth is, Phantom doesn't look evil. He looks... lost. And Danny realizes he has the opportunity to reach out and change that.

[balioc]

Is this a concept-formulation that's already kicking around out there somewhere? It might well be. It feels like the sort of thing that someone would already have developed. But it's new to me, at least, so I'll muddle around with it as best as I can.

On one end of the spectrum, you've got the musical hook. A hook is maybe two seconds of music, if that. And when you hear it, if it's good, you get a concentrated spike of -- oh, yeah, that's the shit right there, this exact experience in this exact moment is fucking awesome. And then, as soon as it's come, it's gone. All you can do is wait for it to come back later in the track, or rewind a few seconds, or maybe just replay that tiny little scrap of music in your head.

The pleasure of a good hook is incredibly condensed. It doesn't even really extend into the rest of the song, let alone into the rest of your life. To experience it, you have to be listening to those exact few bars (if only in your mind). It has no penumbra, no shades-of-experience that color other aspects of your existence. On the other hand, well...when you're listening to those exact few bars, you know it, and it's great. If it's a good enough hook, you kinda just want to listen to it over and over again, like you're popping Pringles or something.

All the way on the other end of the spectrum, you've got something like a traditional-style TTRPG campaign.

Even when it's being run masterfully, a game like D&D has a very low proportion of that's the shit right there moments, and a very high proportion of tedious yak-shaving stuff. Every so often you get your critical success in a high-stakes moment, every so often you get your awesome monologue or your big-drama scene or whatever...but for every moment like that, there's a hundred moments or more of the other stuff. The commonplace D&D play experience is famous for its vast amounts of OOC joking-around, which is not how things look when people are deeply engaged with the art on a moment-by-moment basis. And, of course, not every campaign is run masterfully. Sometimes boredom, or eye-rolling, is what you get in almost every moment.

And yet people love their D&D campaigns, like really incredibly a lot, and are deeply affected by them, and not-uncommonly have their whole lives changed by them.

The correct model here, I think, is that the pleasure generated by that kind of TTRPG experience is super diffuse. It's almost all penumbra. The awesomeness doesn't inhere in any one moment, or even any one scene or any one story arc. It inheres in the broad strokes of the campaign, in the ongoing knowledge that YOU ARE YOUR COOL CHARACTER and you go on a million cool adventures, in the mythos and the running jokes that add up invisibly over time into magic. And it pervades the entirety of your existence. You can think about it when you're lying in your bed, you can chat about it with your friends over lunch, and the awesomeness is just as much there as it is when you're actually playing. Maybe more so.

**********

Once you start looking at art through this variable-diffusion-of-appreciation lens, you can see many different points on the spectrum.

It's obvious that a short story is more concentrated than a novel, which is more concentrated than a series; it's obvious that a movie is more concentrated than a TV show. But it's not just the choice of medium that pushes in one direction or the other. It's a million different choices concerning content and style. Lushly descriptive language, in prose fiction, serves to concentrate the reader's appreciation into the moment of reading -- it forces the expenditure of extra attention for the sake of creating a beautiful mental moment, which in the vast majority of cases will be gone and forgotten almost instantly. Abstracted and philosophical language does the exact opposite, pulling the reader out of the narrative for a little bit for the sake of giving him something to roll around in his head. Suspense, and surprising plot developments, are concentration techniques that can have their full effect only during the transition from unspoiled-to-spoiled (and they serve to emphasize and heighten the moments of that transition). Archetypical, iconic plots are diffusion techniques that trade predictability-in-the-now for satisfaction-in-contemplating-the-story-later.

Sitcoms strike me as being vehicles for diffuse appreciation, to a huge extent, even more than other TV shows of comparable length etc. Much of what makes them good is just the presence of the characters and their distinctive shticks in your mindscape, in a way that builds from episode to episode without any particular grounding in specifics. When I think about a sitcom that I like, I find myself concluding that I like the show overall more than I like any single given episode. Which is weird, right? You'd expect some sort of bell-curve thing where the best episodes, or even the best individual moments, rise up above the averaged-out mass of the whole. But no.

**********

Fannishness is, overall, a very diffuse form of appreciation. This is true in the very-obvious sense that you're enjoying the work during a time when you're not actually consuming the work, by dint of consuming/producing fanworks and talking with other fans etc. But it's also true in the somewhat-less-obvious sense that the enjoyment-of-the-thing usually ends up very unrooted in the specifics of the thing, the plot beats and characterization details and so forth. You have a big beloved vibe, with lots of bits and bobs attached, and you can take the bits and bobs you like best and rearrange them however you like best when you're engaging in fandom.

**********

I believe it is overall true that concentrated appreciation is much more legible than diffuse appreciation. More legible to artists and art theorists, more legible to marketers and consumers. When you talk about art being good or bad or successful or unsuccessful, it's very easy to think in terms of "what is it like to consume this moment-by-moment?", and much harder to think in terms of "how does each piece of the work pervade the whole of the work, and also the general thoughtscape of the consumer?" For this reason, concentration techniques are associated with prestige, and high-prestige analysis tends to focus on a work's ability to generate concentrated appreciation.

...I also believe that different people want to be appreciating art, in the ideal case, at different levels of diffusion. There are people for whom a good artistic experience means lots of crack-hit awesome moments, and others for whom a good artistic experience means getting to live in an infinite penumbra, and others who fall at every point in between.

**********

For reasons I may discuss later, I think this concept-suite is extremely valent to the construction of theater LARPs, and the tension between people who expect more-concentrated enjoyment and people who expect more-diffuse enjoyment is responsible for a lot of the Wars Over What's Good within that sphere.

[toaster-fire-art]

I drew a dumb doodle for father's day because i am✨fatherless✨ and then I completely forgot to post it. so here is it. plus a handfull of others. Hope everyone is having a good pride month so far <3

[carlyraejepsans]

AMA: A Cursed Amulet Appears Before You And Demands You To Choose,

You Get To Talk To Toby Fox For 30 Minutes And He Has To Answer Any Questions Truthfully. This Is Broadcast World Wide Over All TV And Radio Waves, Meaning You Will Be Criticized By All For The Questions You Choose.

Or

You Get To Marry Toriel For Real But She Has A Really Regular Animal Head.

What Do You Choose?

i would not choose the second option. this is not because the animal head is a turnoff, rather this whole thing smacks of monkey paw curling business. getting to marry toriel doesn't necessarily imply any of the other characters also exist, and i daren't separate a woman from her emotional support bestie. if ONLY toriel becomes real i am not doing that to her, even if she was the perfect irl furry replica of herself.

i would unironically choose the first option AND i would ask him intentionally non spoilery or lore questions. i trust the guy too much as a storyteller to disrespect his reticence towards word of god. here's a list of cursed amulet toby fox questions i would ask on live mondovisione so you can yell at me for them.

if you could change or have another try at any part of undertale now that you have more experience as a gamedev, what would you revisit

what's your workflow while composing? has it changed much since you started out? how, how not?

if you magically had the resources to localize UTDR to yet another language (and also personal knowledge of said language to oversee the project for accuracy), what language would be your first pick?

when asriel/flowey shrugs and acts cool it kinda reminds people of sans. was this something you were aware of while making those scenes, or would you say it's just part of your writing style

ever thought of pursuing digital art beyond concept designs and ms paint doodles? if yes, what art styles are you more drawn (lol) to, what artists would inspire you the most?

personal favorite character from each UTDR game currently out?

favorite game you've played recently

have you watched revolutionary girl utena

have you read the omniscient reader's viewpoint novel

when will you read omniscient reader's viewpoint

while avoiding spoilers, if your characters could see any person, from any time in history, regardless of age, logic, or life status, who would they pick?

ok seriously though i think you would really like orv...... promise....

[iztea]

How do you get the ideas for your backgrounds?

mmm ideas.... sometimes i draw the background directly from a photo reference (the happy case) so there's not a lot for me to change and i can have a rather peaceful painting process

othertimes, the BG is tied to the subject/concept/scene I'm thinking of, so it only makes sense that i have that as the background

for example, for this fem skk art, i knew i wanted to have chuu kneeling in a crater after destroying a city so drawing that background was just a logical follow-up because i already had the entire idea in mind

Here, I wanted to have Akiangel sit on a building, watching over the city. The ominous sign with "the day of salvation" and crow came later after I found this picture on Pinterest, so they helped further develop the concept, but the main idea was there and so on

The third background option happens when my painting doesn't depict a certain irl scene or landscape, nor do i have any particular references i can use. In that situation, I first and foremost think about the general composition, the shapes, how they flow with each other, how I can tie them to my main theme and what sort of symbolism or little easter eggs i can throw in there just to keep it fresh and interesting for the viewer ( aka the person reading this aha ;;) :-* )

For this piece, i started with a big circle for the background, and then I started breaking it up in pleasing, cloud-like shapes and swirls that constantly keep your eye moving around the picture (i mean hopefully lol). The composition was inspired by a) Dazai's Mayoi card ofc, that trad Eastern illustration style with the circle and then branches of trees, and also .. kazuha's splash art ok i admit it bshsj

for this one, the roses came much, much later. Again, I added that sort of golden arcade to better frame the focal point or the main subject of the scene which was ofc her face and/or outfit. Then, since it still felt rather empty, awkward, and directionless, I tried finding a pleasing, spiral line that would compliment the already existing shapes and that would, again, move your eye all around the composition. I figured since her outfit already had those small roses stuffed in her belt, those curvy lines could become some bloody, spikey roses and boom! here are the theme and elements for you: blacks-roses-blood-deadly-sharp-gold etc. I then had her crush some of those roses in her right (ik it's the left hand shut up) hand to balance out the busier left side

and a last example, sometimes I draw multiple character poses in one piece and they sort of become my background. Yet I still have some blank spaces left so i gotta figure out a way to fill them out. Here, since the pose where he's all curled up was inspired by the TDIPUD light novel, i drew him as a "corpse" in a pool of blood, and contrasted it with some nice flowery-ish patterns and swirls that sort of come from within that bloody mess ( someone also mentioned it looks like a womb which I found very interesting as well ). The cats also helped fill out the space. On the left side, i added that swirly black sun that drips into three squares that gradually fill up with straight blackness and raindrops falling below inspired by the "a conviction that the sun will never rise again" line. I don't think I should go into detail with the symbolism cause it's pretty obvious and not that deep so i won't but yeah, and that's my BG all filled up!

I do this with most of my BGs, it's mostly just abstract shapes; I'm very fixated on making the overall composition look okay and for the piece to send a message ( most of the time ), so i don't think of backgrounds as a separate entity, they are part of an already existing idea, generally speaking.

This kinda turned into a composition discussion midway......... sorry about that....... To be completely honest with you, I have plenty of BG ideas, they kinda just spawn in my brain so i'm not exactly lacking in that department. Having to draw them and finding refs is the hard part for me

[mswyrr]

The reason why lucy/max initially feels so youthful together so far, like kids with a first crush, and why they don't have sex yet, is that they're both "maidens" in a narrative sense:

The Maiden Arc is the fundamental coming-of-age story. It is the story of a character who has left behind the Child archetype (which we will discuss later in the series when we reach the Flat-Arc or “resting” archetypes), but who has not yet individuated away from her family and into her own autonomy. The Maiden represents sexual awakening and conscious burgeoning. Hers is that fraught period—recreated in so many YA novels—when the person is learning who she will become and, perhaps most poignantly, what she is willing to risk to become that person. [source]

They're starting to break away from authority, but they're both still obedient to authority & brainwashing when they meet and start to fall for each other. They're going to separate to dance with their shadows (Lucy with Cooper and Max with the Brotherhood/Dane) and figure out who they truly are - then meet up again.

To be clear, I'm not saying they're in any way actually "children" - they're both adults! But their relationship to authority and community continues to be that of "maidens":

There is no guarantee she will accept the risk. As with all of the arcs, there is no promise she will fully commit to and complete her arc. Although we all grow up physically and assume adult responsibility, the inner arc may remain uncompleted long into our lives. The obstacles the Maiden confronts are vast because true individuation is often perceived as a threat by the tribe in which she exists. [source]

They didn't have sex because it wouldn't have been as their sincere selves? They don't know who they are yet! They're still trapped in a "youth" phase - and now moving into fully incorporating their shadows and knowing themselves & what they want phase. They're only going to get together after that.

And as I mentioned in a previous post, this show (so refreshingly!!) actually includes sex and povs on it as part of characterization - so the fact that they're both "virgins" in a way due to brainwashing--Max doesn't even know his own body let alone what sex is! And Lucy was brainwashed to think of "breeding" as her obligation and purpose - she's only done that and casual sex, never fallen in love and "made love"--plays into why they haven't had sex yet and that, once they're more fully formed as their own people, they will come together in that way.

It's a well written romance arc. A bit of the dynamic where a "childhood crush" couple meets, are separated, and then meet again and falls in love as adults who know themselves and what they want - but in a sped up timeline because they're both on parallel coming-of-age arcs. IMO in the final lyrics "my echo, my shadow, and me" - the shadow is Cooper for Lucy and the Brotherhood for Max and they are echoes of each other - with both similarities and differences.

Side note: even when a canon is writing a romance well... it's still valid and fun to play in non-canon ships because art is for playing and exploring! And I am a multishipper, so please don't bring negativity toward any ship to my post.

[gayelderstourney]

OLD MAN YAOI BRACKET ROUND 1

Propaganda:

Sir Alistair Hammerlock/Wainwright Jakobs:

THEY ARE CANONICALLY MARRIED!!!!! THEY ARE FORCE/FINESSE SUN/MOON SALT/SUGAR. THEY ARE SILLY GENTLEMEN WHO ARE IN LOVE. HAMMERLOCK IS A VICTORIAN BIG GAME HUNTER LIFTED STRAIGHT FROM A STEAMPUNK NOVEL WHO IS ALL ABOUT ADVENTURE AND WAINWRIGHT IS A SOUTHERN GENTLEMAN HEIR TO A GUN MANUFACTURING MEGACORPORATION WHO HAS SMALL AMBITIONS. OPPOSITES ATTRACT ULTIMATE INCARNATION. THE THEMES AND MOTIFS AND PARALLELS BETWEEN THEM ARE IMPECCABLE. THEY SUPPORT EACHOTHER UNCONDITIONALLY AND WHOLEHEARTEDLY. HAMMERLOCK THOUGHT HE WAS GOING TO DIE AND HE RECORDED WHAT HE THOUGHT WERE GOING TO BE HIS LAST WORDS AND HE SAYS, I QUOTE: "but I long not for death seeking adventures, but instead for one… last… peaceful… moment… with you. I love you, Wainwright. Farewell." DID I MENTION HAMMERLOCK HAS A NICKNAME FOR WAINWRIGHT. HE CALLS HIM Winny AND IT MELTS MY HEART EVERY TIME. GOD THEY GET MARRIED IN THE CORPSE OF AN ELDRITCH GOD AND THEIR WEDDING IS AN ENTIRE DLC. IT ALSO COVERS THEIR RESPECTIVE DOUBTS THAT MAYBE THEY AREN'T THE RIGHT MAN FOR EACHOTHER BUT IN THE END THEY REALIZE THAT IT'S NOT TRUE AND THE OTHER LOVES HIM SO SO SO MUCH JUST LIKE HE IS. I AM SO SO AUTISTIC ABT THEM THEY ARE PEAK OLD MAN YAOI BUT THEY ARE VIRTUALLY UNKNOWN IN THE OLD MAN YAOI COMMUNITY. PLEASE.

They have an entire DLC about their wedding. Their base game story arc starts with Wainwright calling you to ask you to go on a rescue mission to save Hammerlock and calling him the love of his life.

There is a whole game DLC dedicated to their canonical marriage, they constantly call each other by pet names, every single time they talk about one another there is passion in their voices, they express how much they love and care for each other.

Irving Bailiff/Burt Goodman:

they are TRAPPED in capitalist dystopian hell and yet gay love persists. literally they are fighting for their got damn lives to be gay. they've been subjected to evil fucked up brain surgery to make them forget who they are outside of the workplace and yet. AND YET. they fall in love INSIDE the workplace and gain the desire to fight their oppressors so they can do old man yaoi activities. i forgot to take my adderall today sorry im not forming coherent thoughts but they made christopher walken yaoi real

They have only ever experienced being at work and are desperately trying to find meaning with no memory of the outside world. Fraternization is against the rules as well. The yearning is so much.

they are 2 sad old men who are in forbidden love. they bond over a mutal love of corporate art & company tote bags. their love inspired Irving to rebel against his employers for the first time ever. Burt is even Christopher Walken.

They’re so quietly sweet and heart-wrenching… fell in love on the ‘inside’ (they both work a job that ‘severs’ their work memories from their out-of-work memories; inside the job, they have no idea who they are on the outside or what the world is like, but they found each other and found a little bit of love and meaning and happiness inside the nightmare corporate world that is their job)

canonically in love with each other! in the show people sever their consciousness so they aren't aware when they're working. this creates a separate person that only exists while they're at the office, who doesn't share any memories with the person they are on the outside. these two old men bond and find comfort in each other despite the dystopian hell situation they're in

Old men having a forbidden romance while stuck in a hellish workplace dystopia

These two old men know nothing outside of their company propaganda, which says romance is forbidden, and they still choose each other. They bond over paintings, discuss company policy in each other's arms like they're debating scripture on whether their love is allowed. They're sooo gay and it's so sweet to see true, canonical old man yaoi

Weird old man office romance except they only exist inside the bounds of the world’s worst office building and they go on a little date to a room full of plastic plants

[venticuliao]

Thoughts on Arcane

Arcane's writing is built on a basis ideologically opposite to mine, as every work of American fiction is by design.

I like it on its own terms, without projecting my beliefs into it. All American media is held back by ideological constraints, this one has great writing within these limitations which I don't see often, so I like it a lot. Doesn't represent any ideal for me, is all.

I don't know why that is, if every American creative director just happens to be a loyal imperialist dog or if executives in the corporations that own the product share a guidelines of what has to be portrayed by the narratives. Every villain with a reasonable goal has to be morally antagonized in some way, Killmonger wants to be the head of the new power structure, Magneto wants to return the violence, so on and so forth, for whatever reason.

What I know is it's inescapable, even biopics of real life people have their beliefs trivialized or sidelined, even when the directors behind them sympathize with it. Oppenheimer defined his role in the creation and use of the bomb through Hindu beliefs that he was very serious about, yet the movie trivializes it with a scene where he recites the Vedas during sex; Fred Hampton was openly a communist yet Jesus and the Black Messiah gets away with mentioning it only once.

This is just how American media is allowed to exist, I've never had the luck to encounter any exception. When I started Arcane I didn't have any different expectations, regardless of what was presented to me on the screen. Anything that has the remote appearance of a reflection of my ideals can only be a mirage that sooner or later will show its real face, that's more or less how I interact with American media, and I've learned to not resent it. I don't compromise my ideals in watching and enjoying how the enemy makes art, something like that. Everything can be appreciated within its own terms.

Such is the case of Arcane, although only explicit in the second season at the very least. I think fans in general attribute what they consider flaws in the writing to a lack of skill or a failure, but just from my perspective drawing from what I described before, these are deliberate choices.

The optics of having rioters, especially black rioters, willingly join armed forces against the threat of war is pretty incriminating on itself. When the country demands duty from its citizens even the most rebellious ones will attend.

On the other hand, for every act of violence against the people of Zaun there is a reasonable justification, although parts of a larger conflict between the two cities.

This story was never about rebellion to me, that much I can vouch for. It seemed to me that it was rather about powerlessness. I think just most people are used to dystopian YA novels where the teenage protagonist overthrows their corrupted government at the end, but that's not usually how dystopia genre works. Outside of YA you're more likely to see pessimistic stories where the characters are beaten down by the system into submission. This isn't a bad thing, fiction that produces negative feelings like this or tragedy aren't bad media, they're good, it's good to experience these bad feelings in this context. And Arcane never seemed to me like it would build up into a grand rebellion that would serve satisfactory justice, it starts with a failed one after all. Vi has a rebellious spirit when she's a teenager because she doesn't understand the consequences of impulsive acts, even when these impulsive acts have justified rage. Vader tries to teach her that the potential losses aren't worth the risk, it's his fault her parents are dead after all. Hence....... the powerlessness..

I felt that's mostly the vibe of season 1, following the characters through their struggles in this realistic approach to dystopia. I wasn't paying a lot of attention then, so maybe there was something I didn't catch, but that's how I feel right now.

I do however have some notes on season 2, beyond the fact that the sociopolitical conflict between the two cities was sidelined, and this is mainly a confirmation that it all stems from deliberate choices and not careless or rushed writing: the narrative of the hextech.

I, uh, appreciate how it was written, and I enjoyed it a lot, like I said I can enjoy fiction that's rooted in ideology or philosophy I disagree with. And I think it was well written in its own terms too, under its own rules and themes.

How do I put it..

Themes of individuality and identity in western philosophy tend to be contrasted by the equality of socialism and the unity or denial of ego from eastern philosophy. The threat is a collective force that takes your identity away from you and to which you have to stand up to as an individual. Philosophers like Nietzsche specifically identified dharmic religions (Buddhism and Hinduism) and social changes that sought equality like liberalism (of that time period), socialism and even democracy as culprits of producing mediocre culture, anything that subordinated the individual's will to the will of a majority or sought to control the individual's will was understood as a threat in this type of western philosophy.

In Arcane Viktor attempts to absorb every individual into a collective consciousness where they become everything and nothing at the same time through a violent process. The peaceful commune formed by his cult that works on the basis of mutual aid and collectivism is framed as the first stage for this authoritative resolution. By Viktor's own admission, this pursuit ends up being meaningless.

Socialism is framed with similar threats: the leaders are authoritarian, it deprives you from your own individuality, followers are cult like believers.. and so on.

Another thing that called my attention is that Viktor is seen mediating in a pose that resembles that of eastern religions and he remains isolated. Another enemy of Nietzsche's was the figure of the ascetic that he mostly associated with the dharmic religions, someone who by western standards denies their own self to live in isolation. Dharmic religions are rooted in beliefs of unity with the world, universal consciousness, a concern with unavoidable suffering, and the separation of or control over one's ego, all which stand in conflict with western ideals of power.

Like I said, these are elements that already make up parts of the western sci fi genre in and of itself, precisely because the pursuit of technological advance acts as an affirmation of power over the environment and others. Imperialism but through creative lenses, and of course the beliefs of unity and self restraint stand in its way.

Like I also said, they wrote this in such compelling ways! If they're gonna write imperialist western values, at least make it interesting, y'kno.

The resolution between Viktor and Jayce is incredibly moving too, it has made me feel things I hadn't felt in years, but in perspective it seems more like an enforcing of the status quo.

Anyway, I don't know if the creators or the writers are to blame, it's not the first time a popular franchise suddenly asserts this kind of ideology (see Korra or superhero movies), singling out individuals for what seems like a problem in the industry (dare I say the country) doesn't seem useful. Perhaps Netflix executives had their hand in this, who knows.