#authorship of his own story

[blood-orange-juice]

(one of those too-long posts I might delete later)

What fascinates me about Childe is how he's an embodiment of Nietzsche's Amor fati, 'love for one's fate'.

Seeing everything that happens in one's life, including suffering and loss, as good or, at the very least, necessary. Accepting the world as some kind of perfect poetry. Celebrating the chaos of what is.

(Nietzsche considered it to be "the formula for greatness in a human being")

...and, just as it was easy to twist Nietzschean ideas into Nazi propaganda (despite him being strongly against everything Nazis ever stood for), it was easy to turn our precious boy to something just as sick.

I'm almost sure Mihoyo writers *know* the concept and nazi references are intentional.

His Golden House speech is pure perfection in term of references, really.

(a link to a great discussion about links between amor fati and fascism)

[prokopetz]

Don’t know if you’ve already answered a question like this, but what is your opinion on the rise of meta stories in the general media space? Stories that tackle the nature of the story they’re telling or do/don’t do a trope while aknowledging that it sure is a trope that is used in stories.

In the year 1615, Spanish author Miguel de Cervantes published the second part of what had become his most well known work, the novel Don Quixote. Though its plot ranges widely, the premise of this second volume involves, in part, the tale of the protagonist's earlier adventures having been published in book form (possibly by a wizard), resulting in several encounters in part two with characters who've read part one – in effect, the novel Don Quixote exists within its own text.

At one point, the titular Quixote meets a man named Don Alvaro Tarfe, a character from an unauthorised Don Quixote sequel published by a rival author; though Tarfe claims with seeming sincerity to be a great friend of Quixote, he does not recognise the man standing before him now, apparently having befriended a different version of Quixote in his earlier travels. This episode frames a metafictional commentary on the idea of literary canon and the notion of "authenticity" in authorship.

[tarjapearce]

Regarding Stealing and plagiarism by Fangweaver99/Miorjah

WARNING: LOTS AND LOTS OF TEXT AND PROOFS OF PLAGIARISM.

For a brief context to those that don't know, on June 20th I was notified through this post that there was a story that contained awfully simmilar ideas of my fic, Of Flowers and Humminfbirds. An idea that has been out for almost a year both here and A03.

As some of you may know, plagiarism has been part of my stance on this website. Not once, not twice, but thrice now with my stories.

However, as I said before, I will NOT tolerate more of this disrespectful behavior towards my work. The user in the post provided some proofs as you can see. However I took the liberty to see with my own eyes that not only some ideas were copied/tweaked. but also, parts of my fic that revolves mostly on the events of chapter 1,2 and 3 of OFAHB were taken.

Also, this is NOT an open invitation to harass them. Mind you, before I get accused of it again.

To starters, I'd like to clarify some things that might not be clear to people. Fangweaver themselves told me they had NEVER read my fanfiction, only my other work, called Miguelverse. Their friend approached me first with this BIG fat lie.

"They haven't read your fanfiction"

Now, If they haven't read it, why their name showed up in my kudos notification mail on MAY 5TH 2024? And their fic A Minor Slip Up was posted on 2024-06-15? Proof A:

Proof B: (If you go to my A03 profile on my fic, you can see it for yourself that their name is there.)

2. False accusations of harrasment done by their friend qphelia : Proof A:

Which was the opposite, as my ask box got filled by the same people over and over. (You can see it in my profile if you scroll down enough, along some claims they've done)

Proof B: (Didn't you just say that they were getting harrassed already?)

Which I did, they reached out an hour later, saying exactly the same.

Now regret of not reading their outline, cause they did send it. I was too angry to look at it.

Now. The plagiarism.

As most of you know, Comic Miguel is a cheater. He cheated on Xina Kwan with Dana D'Angelo, but he NEVER cheats on Dana. Some may say, "Yes, that has been done before where Miguel cheats on Dana" and you're right. However, cheating SPECIFICALLY on her in a gala, hosted by Alchemax and having sex in a workplace space, Isn´t canonical nor generic. It's from my authorship.

Of Flowers and Hummingbirds Chapter 1, Miguel and Reader Meeting and mentions of cheating:

Proof A, B & C of Fangweaver's fic, on Chapter 2 & 4:

A not so subtle hint to my 'underpaid receptionist' reader.

The span of time working for Alchemax. I know it sounds stupid, but it's there. Even that got used.

OFAHB Chapter 1:

Fangweaver's fic synopsis and proof A:

The Smut. You might think this is getting ridiculous but, it isn't.

In OFAHB chapter 1 There is a fingering scene, and some other dialogues that got tweaked/cherrypicked.

Fangweaver's fic on chapter 3:

Now, you think that's it but, sadly no.

In the aftermath of the cheating sex, in my fic, OFAHB chapter 1, they share a moment where reader falls to the floor and look for her panties. Then, they clean themselves up.

in Fangweaver's fic on chapter 4:

The reader's pregnancy suspicion:

On chapter 2 of OFAHB, Reader is struck with a nausea wave she thinks its food poisoning at first, then she faints and goes to Alchemax clinic where she is handed vitamins and a pregnancy test:

In Fangweaver's fic on chapter 7:

The confession:

OFAHB Chapter 3: Miguel and reader share a heated arguement, hinting at the baby isn't his.

On Fangweaver's fic, chapter 6:

----

Update: They've changed the synopsis of their work.

I could name a few more but in truth, it's pointless when the obvious is there. Sadly I've been pushed to put disclaimers in each of my stories, cause of this. It shouldn't happen, since we're supposed to be adults, knowing what's right and what's wrong. And if you know thievery is wrong, why doing it?

Credits won't be given because they know what they've done. What truly angered me were the accusations of harassment, and the OBVIOUS cynism on their end. Which reminds me, these three people are involved in the creation of that fic.

Although I know that there is no way to protect my work from people like this, it's truly discouraging for me as a content creator to have this sort of experiences in the fandom.

CREDIT ALWAYS . Don't go for the easy way. Don't disrespect people just for dumb shit as views and popularity.

-T.

--

[elgarabato65]

Hi guys! It's been a while since I've shared digital art on my account. I've been busy resolving some personal issues. Recently, I've been working on an exciting project for the Undertale community. Basically, this project involves rewriting the history of the Dusttale AU. Many of you know this AU because of its designs and because it was one of the first to be published in the community. I want to make it clear that I am not trying to claim authorship of the AU, as it belongs to the entire AU community. However, I want to offer my own version of this AU. After researching various internet forums, the official Undertale AUs wiki, and several videos posted by the AU community, I've noticed that Dusttale has some inconsistencies in its plot, such as why Sans gets determination and why he doesn't see affected as in the original plot of the universe. I've also noticed a lack of depth in the characters, especially Sans. My goal is to address these issues by rewriting much of the story, but without altering the designs already established by the community (As you can see in the promotional art I'm sharing). I'm still working on adapting the script into a comic and hope to release the first chapter in the coming months. See you soon, guys! Take care! ;)

Sorry if my English is not that good. :P

[fkapommel]

A Rant about Bridgerton s3 from a person who doesn't care about Bridgerton

I'm just a hater who is an optimist at heart. On Polin, the Mondrich's, Michaela Stirling, and Cressida.

I haven't read the Bridgerton books, and I don't believe there is any validity to a "but this isn't book accurate!" argument because Bridgerton the Show was marketed as a diverse, representational adaptation that liked the bones of Quinn's idea but made something better. And I, a lay person, have never seen as much virtroil and hatred towards the showrunners as I have seen this season using that exact argument that has never been uttered before because, near unanimously, all fans agreed that the showrunners were making a better story that 90s Quinn ever could. So many people, readers and non-readers alike, were disappointed with the handling of this season.

Peneolope and Colin

Polin was ignored during THEIR season for conventionally "pretty" and "thin" romances. There was zero character growth for either Penelope or Colin individually and as a couple in their own season. We are never shown why Colin loves Peneolope or why he has grown to appreciate her Whistledown project beyond dialogue - "I've learned that they are both you" what the hell does that even mean. Most of the season is spent with them physically apart making dumb faces at each other at dances with no cinemagraphric tension being built - few body closeups, boring musical cues, meaningless and repetitive body/facial choreography (I'm looking at you, open-mouthed contoured Colin) - when all this and more were utilized successfully in Anthony and Kate's season. People were thirsty as fuck to watch a white man get fucked by a darker skinned woman (as was i), but not even the showrunners could be assed about the romance between their only plus-sized character and a Bridgerton. We spent more time building up Francesca's relationship with Kilmartin over penting up Peneolope's romance - her feelings of tragedy, hopelessness. Peneolope has always been overlooked and truly believed that was her fate forever - even nearly agreeing to a marriage that would literally leave her ignored for years on end - and that was the central tension of the season. She knows who she is, she knows that she is love-worthy, talented, and intelligent, but will Colin? DOES Colin? Oh, he does, and he randomly decides that mid-way through the season. And then fumbles her so hard to the point of insulting her very character - calling her manipulative and scheming after they slept together - when the true authorship of Whistledown is revealed. There was not enough tension built nor sustained to carry his hatred for his wife during those episodes, and no, a couple shots where he looks at his very hot wife and thinks "damn, she is hot" is enough.

This season we should have seen what his mother told him - that he is incredibly self-sacrificial and puts other people's (his quoted siblings') happiness before him - in action during Pen and his plot to get a suitor. That device could have been both means and method of Colin's realization that Pen was his true match all along by being forced to list her accolades, scrutinize her face and body for physical compliments and inticements in order to hype her up for other suitors and recognizing her intelligence and manner of speak in Whistedown because of their newfound constant proximity instead of having to be told about her authorship and realizing off-screen their similarity (which, I'll mention, has never been demonstrated in all three seasons. As a person who writes very different to how they speak, I understand that there is some grace to be had here, but Penelope's dialogue does not include any Whistledownisms at ALL and there absolutely should be some demonstrable similarities, especially this season.) That's how Colin could have NOTICED her. In all, their romance was extremely fumbled in favor of having "prettier," "skinnker" bodies on screen because the showrunner had no faith in Nicola's verified abilities in being a leading lady in a larger body (which isn't even plus-sized UGH different argument). Pen has been in love with Colin since the Featherington's "moved in next door" - where was any of that? We learn more about Kate Sharma's childhood in her season than we do about Polin's, the season where its plot important. No flashbacks, no reminescing, no reasons given why Pen even liked Colin in the first place (could he have done something for her, perhaps noticing her in some character-important way, and thats why she developed a crush? No. He's simply a cute guy next door.) We don't even reminisce on Colin's recent worldly travels that, at the start of the season, have completely transformed him into a lady's man or taught him how to assume that character-type. We don't see Pen's life without him to contrast with her life with him back, but different. We don't see the strain on Colin trying to hold up this facade of being a confident womanizer, nor do we see any consequence of his womanizing, just distant shots of jealous Pen. Why be different, why be different now, what shaped and taught his transformation? Did he think of Pen when he was gone? All important questions that would've better characterized him.

Colin magically realizes he's been tortured for a few days seeing Pen talk with Debling a few times (who is completely forgotten about in Pt 2 holy shit I totally forgot about him), then is so mean to her realizing she's Whistledown, then magically falls in love with her again, and then oop- there's babies. Which i guess wasn't a surprise, but rubbed me the wrong way as neither of Polin has talked about wanting kids at all. In all other seasons, we see our pair demonstrate their abilities as viscountess or duchess, and we see them discuss the importance of having children plus an understanding of what it's like being parents. We didn't get any of that from Polin and seeing them suddenly thrust into parenthood was a shock to their characterization. They're love story is allowed to be juvenile, girl-/boy-next-door fantasizing, and rushing past Penelope's pregnancy and their transformation into parents was needless, leaving more questions than answers.

Mondriches

Why, the hell, was the Mondrich's selling their bar so goddamn important to this season?? This show is called Bridgerton, about the Bridgertons, but we have sacrificed necessary screen time on Colin Bridgerton's characterization and romance with Pen for filler than ultimately means nothing! He sells the bar anyway! This show was billed on meaningful representation of its diverse cast. You can't just make a nothing burger conflict about if this Black family suddenly thrust into being titled when the husband is weirdly attached to a bar where he serves whisky to his majority white clientelle. A Black family suddenly needing to learn the rules and decorum of the nobility is an interesting storyline in the world of Bridgerton, which characterizes itself has post-racial. Learning all the minute rules of etiquette is crafted to be impossible to an outsider, so how does this family of outsiders learn it? Where is the conflict that their inheritance rests on their child becoming the legal head of the family? There is so much to be explored here. In this concept rests a meaningful and emotionally convincing plot, but all we got was "Dude you need to sell your bar." "But I don't wanna! ............... I sold my bar." If youre going to waste screen time on one of the very few depictions of a plus-size character finding love that doesn't center her weight in its conflict, at least make it not so fucking boring.

Michaela Stirling and Francesca

And finally. Here we get to Michaela Sterling, who, based on the audience reaction, came on screen, showed her whole vag, killed beloved character Michael Sterling with a chainsaw, and hypnotized innocent Francesca Bridgerton in lesbianism. Good God people. Get a grip.

As a person not in the fandom, I have never seen this level of disgust and anguish over an adaptational change than to the introduction of Michaela Stirling. To anyone who hates this change and loves Mr. "Im going to tie you to the bed until you get pregnant": you already have that. No one is taking the books away from you. But a television adaptation of the books is not FOR you, it's for a whole new audience that pays homage to the original readership. If you cannot handle this change, stop watching.

To all of the television viewers who make a monolith of this outcry, accusing all nay-sayers of homophobia: get a grip. It is indeed emotionally difficult to see your beloved books get a poor adaptation or when screen adapters make changes that you see will make the narrative weaker. Literally every fandom that has had an adaptation has acted this way once or twice. And readers make some important concerns for the impending narrative! By introducing Michaela right after an entire season of this slow, easy, quiet romance between Francesca and John, the show has retroactively trashed every time that Fran has assured her family that she is truly in love with her now-husband (a fact that is important when that said husband is to be lost in the coming seasons). Fran and Stirling were demonstrating a real, true love that differed from the steamy, bodice-ripping lust the concept of Bridgerton was founded on. Their love was, may I remind you, incredibly popular to neurodivergent viewers who saw many traits of ND represented in Fran's character and her relationship with John. Her constant conflict with her mother and the queen who doubted that their love was valid because it did not behave in the same sensual way theirs had and then Violet's eventual approval of their relationship is important representation for love not based on lust and sexuality but on shared psychologies and interests. So far in Bridgerton, it has been illustrated that the only correct and long-lasting type of marriage is one based in wanting to fuck the pants off your partner; JoFran complicates this narrative. By then introducing Michaela and having Fran stutter over her words in compliance to Violet's memory of "forgetting the most familiar of words" when meeting her husband completely erases everything JoFran fought for and meant. "Wait, on second though, everything that these two characters stood for was in fact wrong and being so horned up that you forget your name is the only true start to a fulfilling relationship." This alludes to an eventuality that Fran's personality will be altered even more, that more parts of Francesca are indeed wrong and need to be changed for her to live a fulfilling marriage. (Yes, I understand that this has not happened yet, but the complete reversal of her relationship that she championed for an entire season makes one wary that even more is on the horizon). Further, Francesca's narrative is centralized around grief. How can that be actualized in the show if she falls out of love with her husband before her marriage night, when she's already lusting after her cousin by marriage? The Micheala introduction as it is in season 3 completely rewrites Francesca's character in the show and foreboding for an even greater change in seasons to come. There is an in-narrative issue with Michaela that is not reducible to homophobia but a genuine concern for the narrative.

Secondly, I have seen some people state that miffed viewers are upset about Francesca's bisexuality but not Eloise's implied lesbianism because they were comforted by Eloise's adherence to gay stereotypes, such as her "militant" feminism, her "not-like-other-girls" black sheepism, her hatred and disgust of men and the institution of marriage, and her constant, deep, near-homoerotic relationships with women. Francesca, in contrast, is princessly, beautiful in the same manner as Daphne, modest and sexually inhibited, concerned with feminine pursuits including marriage, and has not expressed an interest in women until her introduction to Michaela. To these people I say this: stop giving television showrunners so much grace. Michaela's introduction was meant as a shock to the audience. It was not meant to retroactively construct Francesca as a bisexual, locked in a tower of heterosexuality. It was meant to drum up just as much media buzz as it has. It is a hook for the next season meant to draw in new viewers - a queer audience scrounging for representation in the carpet hairs - and their run-of-the-mill audience member who pointed at their TV, exclaimed WHAT!?, and who is now hooked to discover how this new plotline will play out in the next season. It will keep their audience curious for however many years it takes for B4 to come out. Look me in the eyes and tell me that you were not surprised by Fran's sudden bisexuality. There is a reason that Eloise's stereotypicality is shorthand for gay, and the fact that Benedict and now Fran have been confirmed as bisexual if not homosexual lessens the probability that Eloise's narrative will be queered. Bridgerton creators do not care about true representation, they care about providing for a wide enough audience. That's why we only got canon queer characters (and queer sex) until the end of s3 - when people were already hooked. But they can only include so much before people are turned away. Think to yourself, why has there been no main dark-skinned, or truly plus-sized, or blemished, or disabled, or asexual, or poor, or effiminate man, or butch woman, or trans* love interest? It's because diversity and representation have limits.

Queer people deserve good representation, and we deserve for that representation to be narratively treated well. We do not deserve shock marketing or the ruining of hard built plot and characterization so that creators can win Diversity Bingo. (Likewise, this goes for racial diversity as well).

Forgotten Cressida

And lastly, and most shortly, what the fuck did they do with poor Cressida. I have never been more let down by the show than how they villanized, then sympathized with, and then shipped off Cressida to a doom of her worst nightmares when her storyline could have genuinely be salvaged by inhabiting the Whistledown role - being an outcast, but a respected one that is still flits about society - or by allying herself more with Eloise and leaning on her for support. But no. She is forgotten by society, by her family, and the only person she has ever called a friend, who was in the perfect position to be a queer provider for her. That shit hurted.

[too-antigonish]

The Classical Music of Ride, Part I: Mozart’s Requiem

You can’t trust anything or anyone in Ride. People aren’t who they seem to be. Every action, every event is just a cover for something else.

Is Morse one of the idle rich? An Oxford drop-out? A taxi-driver's son from Lincolnshire? A man who’s just finished a prison sentence? A policeman?

Long post....

Is Bixby the filthy rich head of a gambling empire? Is he just a front for Harry Rose’s criminal empire? Is he Charlie Greel looking to win back Cathy or Joss Bixby looking to seduce Kay? Is he even himself or is he his hidden, evil twin Conrad?

Are the denizens of Lake Silence really Morse’s friends—sheltering him after the storm of Blenheim Vale and prison? Or are they a bunch of dysfunctional philanderers and addicts? Even worse, are they suspects? Criminals?

Using Mozart’s Requiem in this episode must have absolutely delighted the music staff because while a great part of its fame and mystique rests on the sheer accumulation of stories and legends that have grown up around it, almost none of those tales can be proven—and all of them have been challenged at some point. You really don't know what's real and what's not—right down to the music itself.

Was the anonymous “stranger cloaked in gray” who gave him the commission the only sponsor Mozart ever saw? Or did he  at some point become aware  that the Count, Franz von Walsegg, was paying for the work? Some people today are shocked to hear that Walsegg planned to pass off the Requiem as his own work—as a tribute composed in memory of his dead wife—but that was a fairly common practice for the aristocracy of the time. It was considered slightly shady, but the proper thing to do was to just politely nod and go along with it.

Did Mozart, his mind disturbed by illness in his final days, truly come to believe that he had been poisoned and that he was writing the requiem mass for his own funeral? Or was that tantalizingly dramatic detail added by his widow Constanze to drive up sales of the score after the his death? The couple was catastrophically bad at managing money and when her husband died, the widowed Constanze was left with massive debts and two small children. She needed to maximize any possible source of revenue. 

Her story certainly captured the public imagination. Pushkin took that little tidbit about writing his own funeral mass and wrote a very short but thought-provoking  play in which he cast Mozart’s contemporary Salieri as the envious poisoner and Mozart himself as a childish, spoiled, and petty genius. Peter Shaffer later adapted Pushkin’s work into the play, and later film, Amadeus. A surprising number of people today believe Amadeus to be not the work of imaginative fiction that it is, but rather a completely factual story of Mozart’s life and death.

Mozart worked on the Requiem up to the day he died at the age of only 35. It was the last piece he worked on. Most scholars believe the manuscript we have contains not only the last music he ever composed but possibly the last words he ever wrote.

As far as authorship is concerned, we know for certain that Mozart himself completed “in skeleton” the Introit, the Kyrie, and almost all of the Sequentia (Dies irae, Tuba mirum, Rex tremendae, Recordare, Confutatis). The last portion of the Sequentia, the Lacrimosa, was completed was the up through the first 8 bars.

The last words that he actually wrote were "Quam olim da capo” — which instructed the musicians to repeat the "Quam olim" fugue of the Domine Jesu from the beginning. In yet another mysterious twist to the story of the Requiem, these actual last words were stolen—quite literally by tearing them from the manuscript—while the score was displayed at the 1958 World’s Fair in Brussels. They are still missing.

We are certain about the authorship of parts because we have the autograph manuscripts—the music in Mozart’s very own hand. The big question, however, has always been, how much the the rest of the Requiem can we consider his? The parts that were completed “in skeleton” basically had all of the “important” notes in place. Things missing include details like doubled parts that could fairly easily be extrapolated from what he had written. 

In order for Constanze to receive her money from Walsegg, however, she needed to make it appear that Mozart had completed the work entirely or almost entirely himself before his death. Not only would this ensure full payment from Walsegg, it would also promote sales of the score to the public later. A work written by Mozart alone would far out-sell a work written by Mozart and “Mr. Competent-But-Lesser-Known-Composer.”

Today we know that at least two of Mozart’s students were involved in finishing the piece, with the majority of the work being done by Franz Süssmayr. What we don’t know, however, is how much of the completed work is purely theirs and how much came from Mozart’s notes and verbal instructions.

Some versions of the story indicate that Mozart gave detailed deathbed instructions and left many “little scraps” of paper with details of how to complete the composition. Other versions claim that this talk of “little scraps” is simply more of Constanze’s effort to maximize Mozart’s contributions and minimize those of others.

Regardless, we know that the completed Requiem was eventually sent (with Mozart’s counterfeited signature!) to Count Walsegg and dated 1792—which is rather odd in retrospect given that it was well-known that Mozart had died on 5 December 1791. It's always been yet another mystery.

The two excerpts used in Ride are the Lacrimosa, during the opening titles and establishing scenes, and the Confutatis, which Morse is listening to on his record player as he splits wood outside the lakeside dacha.

The Latin text of the first reads:

Lacrimosa dies illa, Qua resurget ex favílla Iudicandus homo reus: Huic ergo parce, Deus:

The equivalent translation (i.e. not the one used at mass, but a more literal translation) is: 

Tearful [will be] that day, on which from the glowing embers will arise the guilty man who is to be judged: Then spare him, O God.

So Ride starts with tears and guilt.

I’ve always found it interesting that this text doesn’t even try to claim innocence, instead it very clearly asks that the guilty be shown mercy. 

The Latin text of the second reads:

Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.

The equivalent translation is: 

Once the cursed have been silenced, sentenced to acrid flames, Call me, with the blessed.

This text always strikes me as coming almost from a child’s point of view. Basically one interpretation is, “Come and get me once you’ve taken care of all the bad guys.” I'll leave you to draw your own conclusions as to how that might apply to Morse post-Blenheim Vale and prison.

Next week: The Classical Music of Ride, Part II: Rigoletto or “Why keeping a person’s entire existence a secret leads to Bad Things.”

Special Bonus Section!!!

Parts of Mozart’s Requiem used in Endeavour: 

Dies irae: completed by Mozart in skeleton* S4E4: Harvest (~2 min) (~3 min)

Rex tremendae: completed by Mozart in skeleton* S9E3: Exeunt(~1 h 11 min)(~1 h 11 min)

Confutatis: completed by Mozart in skeleton* S3E1: Ride (~5 min)

Lacrimosa: completed by Mozart in skeleton* through measure no. 8 S2E3: Sway (~0 min)(~1 hr 24 min); S3:E1 Ride (~1 min)

Lux aeterna: Not in Mozart’s MS; however Süssmayr reuses the Requiem aeternam written by Mozart almost note-for-note with just the different text S9E3: Exeunt (~31 min)

*skeleton: means full vocal and continuo parts, notes for prominent orchestral parts and musical bridges

[twentydaysofmay]

So at first, this was a reblog of a different post, but I am now making it an original one for greater reach. Be warned that it's going to be quite long.

So, we all know and love the promotional comics of our Wii boxers, like this one about Glass Joe:

You might have never questioned its origin, and neither did I when I first encountered it a year ago. I just assumed that Nintendo officially published it in a guide, because that's what every source about them that I've read was implying.

But then I learnt that these translations aren't official at all. They were apparently done by the Tumblr user @boink-the-joiner in 2013, whose blog seems to be unfortunately deleted.

And then I was informed of the existence of this image by my friend @fan-mans (Charlie):

He said he originally found it on Tumblr, though he didn't give me the link to where he got it from. (It happens to be included at the very start of this post.)

But this supposed "original version" seemed fishy to me for several reasons:

If this is the "original" Japanese version, and no "official" English one exists that was published alongside it, why are the sound effects written in the Latin alphabet?

Why is the authorship at the bottom in English? And isn't that the exact same font as in the well-known English version?

Why is it read left-to-right? Shouldn't it be flipped from the English version? Wouldn't it make more sense for Mac to punch him with his right arm and for Joe's hair to be more often on his right side than the left, and to first put on the left boxing glove, and hold the coffee cup in his right hand?

Why is there a red rectangle in the middle right?

Charlie said that all of this was because Nintendo was catering to an American audience, but never actually published the guide outside of Japan. (Apart from the red rectangle, which was apparently a part of the website that image originally came from, but he didn't have a link to that either.) I didn't believe it at first, because it just seemed like an incredibly stupid pair of decisions to me.

But today, I found this webpage. It's a blog post talking about strategy books for Nintendo games, and includes this image:

This is it! This is proof that Nintendo printed the comic to be read left to right in the original Japanese version!

There was that little bit of doubt in my mind though. What if the copy that shows the actual pages of the comic is in English? The quality is so low...

...but the kana here are clear enough.

That isn't the end of the story. Shortly afterwards, I came across this webpage:

THIS IS THE ORIGIN OF THAT JAPANESE VERSION OF THE JOE COMIC ABOVE! The red rectangle was, indeed, holding up a textbox.

Anyway, the full website can be found here, and includes a few other materials, such as this part of a guide on Title Defense Von Kaiser:

Sadly, the website only includes Joe's comic, and I haven't found the original Japanese versions of anyone else online, so currently, you'd have to own the guide to know what they look like.

Also, out of curiosity, I decided to use the Wayback Machine to see if the site has ever been modified, but it just wasn't archived there at all. Not even a single snapshot. So I went ahead and preserved what it currently looks like.

The website itself seems to belong to the company that published the guide, Enterbrain, a division of Kadokawa Future Publishing, which is a part of the Kadokawa Corporation. The names "Ebten" and "Famitsu" seem to be related to it as well, but I have yet to figure out exactly how. The full Japanese title of the book is パンチアウト！！完全クリアーガイドブック, and its ISBN is 978-4-7577-5067-8. At least according to these listings.

Not all questions about the comics have been answered. For instance, we still aren't quite sure why Nintendo (or Enterbrain, anyway) decided to flip them. And our translator Boink had to have the copies of all of the Japanese comics, otherwise they wouldn't have been able to translate them! What if they are reachable somewhere else, and we can ask them if they still have the original scans?

More information might come as I (and hopefully others) research more.

[stickthisbig]

I have no idea what this is but I decided to write down my grand theory of Star Wars and how authorship affects the ways in which stories are good and bad? Come for media critique, stay for the analogy at the very end about how Star Wars is like college, also there's gifs

The original trilogy is a series of derivative works. That's not a pejorative, but a description of their content and structure; they are constructions that use existing pieces to tell a new story. They are samurai movies, they are meditations on Joseph Campbell. They are the work of a film nerd trying to create a story that is Everything. There's nothing novel about the storytelling of the original trilogy; it was just particularly well executed, because they were made with love by a craftsman, surrounded by a team who kept him from giving in to the worst of his narrative excesses (most notably but not limited to Marcia Lucas).

There's a lot of No Reason in the original trilogy. Why's Darth Vader so strong in the Force? No reason. It doesn't have time to delicately explain everything, so it relies on the audience's understanding of the shape of the story to fill in the gaps. It's the time in the story for someone to fall in love, so a romance plotline it shall be. The author is trying to do something, and he successfully does it.

The prequel trilogy represents an older creator for whom derivative works were not enough, who had been creatively stifled by the very thing he created. (I strongly recommend Patrick H Willems's series about Frances Ford Coppola if you want a really interesting take on George Lucas and the tragedy of his career.) Extremely importantly, they represent a creator with almost unlimited cash and no one to tell him to tone it down.

Everything that is bad about the prequel trilogy is because they were made with a vision by a creator who was trying to do something. George Lucas has six hours and fifty-eight minutes of material prepared about diplomacy, representative democracy, and how all unchecked power is always all bad and by god we are all gonna sit here until he finishes it. The writing is so clunky because it is not there to build character or relationships; it is there to convey information. The sequences with the Gungans are such a mess because they're the injection of (very inadvisable) comic relief into a story that is not supposed to have any relief at all.

One of the worst sins of the prequel trilogy is the rejection of No Reason. It continually poses questions that do not need answers and then takes pains to answer them. Why's Darth Vader so strong in the Force? His mother conceived him as a virgin birth because of the Force, by way of midichlorians, which as we all know are the powerhouse of the cell. It is such a deeply unsatisfying answer, but George Lucas seems incredibly sincere about the fact that this is important. He is trying to position his derivative work within a new fandom context that conceives of his work as wholly original, and the wild thing is, I think George Lucas always thought all of this and just wasn't allowed to put it in. Improbably, the problem is not that he hasn't thought enough about his own lore, as a common charge goes; he appears to have thought about it way too much.

I have to confess to not being a prequel trilogy fan, but probably the single biggest thing to come out of it is Obi-Wan. Ewan McGregor almost instantly became the canonical version of the character. It's because the same thing that made it bad also made it good. It's a story that is trying to do something, and that is opening wide an almost Stendhal-syndrome-esque array of locations and people and stories. Fuck yes I want to hear everything about the person Alec Guinness used to be when he was young and badass, tell me everything about the weird desert guy. Of course I wanna go to Space Italy and see what the galaxy was like before it got dicked up. Sinister rise to power of Darth Vader's master? Check. Seeing the evil enemy built as a series of actions is the shit prequels are made for.

When the prequel trilogy is boring, it's because the pacing is fucking awful, especially in Revenge of the Sith. The dizzying array of new stuff is never boring, and you can all fight me on Kamino being one of the best planets in the whole series. When it's good to be in George Lucas's mind palace, it's extremely good. For better or worse, he did it. He gave his almost seven hour lecture, he said what he had to say, and he left.

And then we move forwards in time, into an era of Star Wars as a strategy rather than a story.

(I didn't see Solo, so it's not gonna be in here. Neither are any of the TV shows or the EU, because I have other shit to do with my life.)

The Force Awakens was not the first Star Wars film that was made by someone else; the authorship of The Empire Strikes Back is complicated- George Lucas kind of managed to ghostwrite his own movie?- but he definitely didn't direct it. Empire was very much still a Lucas production in which he was intimately involved.

The Force Awakens has a point, but it ultimately doesn't do anything.

It resets everything back to the start: an evil empire represented by British people in suits come to power; three heroes arise; a mentor who's incredibly important apparently despite only knowing the heroes for five minutes is murdered by a cloaked Force user; something is blown up. It is meant to stoke the fires of nostalgia, and it provides nothing substantive in terms of plot. In fact, it represents a retrograde movement. It is a very fun watch and a movie with absolutely nothing to say, at least nothing that wasn't written into the series thirty years beforehand.

It's not a surprise that, since it's just meant to get people hype and then serve them what they already know, the best thing it provided were its new characters. I was so stoked to see a Black person in a Star Wars movie; we got three new main characters and not a white man among them?? But let's fuckin' table that shit, because we all know what's coming.

[I was gonna put in a Kylo Ren gif but he looked like such a dipshit in all of them, you're welcome]

Actually I lied, I forgot that what came next was Rogue One. The purpose of the film is to make a war movie about Star Wars and like many/most war films, what the movie is trying to do is meditate on the duality created by the futility of war and the value of sacrifice, it fills in a blank in canon but is really a tone piece meant to make you have feelings and reflect, I watched it once and it was so touching and horrible that I've never been able to watch it again, 10/10 no notes

And then we have The Last Jedi, which is weird.

The Last Jedi represents a step back to a craftsman at the helm, and the exact same shit happened again.

It shouldn't have, because it happened again in a completely different way! The Last Jedi is a singular vision with one creative direction, and that is the cause of everything that is bad and everything that is good about it, but Rian Johnson wanted to do something radically different than George Lucas. He's not interested in giving you his Star Wars lecture; he's interested in breaking Star Wars open, thrusting it bodily in a new direction. The Last Jedi represents at least as much movement as The Empire Strikes Back.

So it's not like a shock that the movie was wildly divisive, and lists of the best and worst things are the same items shuffled around. I honestly think Admiral Holdo's death is the finest moment in the entire trilogy, in terms of visuals and in terms of emotional impact. I fuckin' love that Luke was sitting on PTSD Island sulking, because it's some Luke shit to do. "Let the past die. Kill it if you have to" got me HYPE to see where this would go. I wanted to go on that ride. I've loved Star Wars since I was a tiny child, and I wanted to go on a journey into something that was entirely fresh.

Other people hated all of these things, and honestly in this case, I don't agree but I can't say they're wrong. Wanting Rose to be deleted from the series simply for using oxygen is racist. Wanting Snoke to have had more impact on the story is a difference of opinion. Either you were interested in this ride or you weren't, and you're not a bad person for not wanting that out of your Star Wars.

But on the other hand, it's not a very good movie.

The problems that make it not very good are the result of having one guy at the wheel. It's clumsily made. It feels like it ends three times before it actually does. The Canto Bight sequences are the work of someone who doesn't want them to be in there, and somebody who could play ball would have finessed the story to make them organic. Some of the CGI work represents a lapse in professional judgment. The Force dyad stuff does not make any sense at all, because it plays like somebody who couldn't really explain a thing they were doing but refuses to stop doing it.

It's so good when it's good. I just wish it had had another screenwriter who could have fixed what was bad.

I didn't care for Rise of Skywalker.

By the time it came out, I was experiencing a kind of numbness surrounding Star Wars; not literally, because I got my tattoos finished up just before it came out. I didn't have any idea what was about to happen. There were a lot of rumors circulating about the extent to which things had gotten rewritten, but it was pretty clear that whatever it was going to be was fully an Abrams/Disney thing.

And indeed, this time, they did make a movie that tried to do something. Extremely unfortunately, what the movie was trying to do was reinforce the status quo. It did this on every level- Holdo's sacrifice was made meaningless, the minuscule amount of queer content was palatably deletable, a woman of color's lines were given to a white man who was buddies with the director, the story reverted from "everyone's a Star Wars" to "there are only four people in the galaxy who matter", Poe's awesome storyline from the comics was thrust aside for a frankly kind of racist replacement, every bit of story development from TLJ was cast aside. There are no consequences for anything, because all that matters is moving to the end of the story; I cannot believe that absolute motherfucker made me watch Chewbacca die with my own eyeballs just to wave it away literally two minutes later in the clumsiest way imaginable. In the prequel trilogy, in Rogue One, in TLJ, everything everyone does matters so much. The minutest actions have huge consequences. In Rise of Skywalker, nothing matters even a little bit. Everybody just waits around for the main characters to get finished dicking around.

I cannot believe that it's a thing I would possibly think ever, but the only thing that got any work put into it was Kylo and Rey's relationship. Trust: I didn't enjoy watching it. There's a piece of Wishful Drinking where Carrie Fisher and Billie Lourd are trying to figure out if Billie is related to the guy she's dating, due to a bunch of Hollywood marriages. Even after the shitstupid reveal of Rey's parentage, it still really, really feels like the same vibe. But by the time they kissed, I was like, "Yeah, I mean I hate it but I see where it happened."

Star Wars is like the end of a semester in college. The prequel trilogy is the period where you're studying, trying to cram so much stuff into your brain that you're never gonna remember. The original trilogy is exams, exhilarating and rocky but ultimately liberating.

The sequel trilogy is the party you go to afterwards. At 10 PM you're at The Force Awakens, singing along at the top of your lungs to a song that's catchy and doesn't have to be good. At midnight you're at Rogue One, where you break down sobbing in the bathroom. The Last Jedi is 2 AM, weird and full of promise, as if anything could happen.

The Rise of Skywalker is 11 AM the next day, when you've already broken down the details at brunch and are now lying in bed unable to nap, with the horrible certainty that this is all there is, you will never be more than yourself, just a regular person who carries no special importance.

I didn't like it in real life; I sure didn't want it from Star Wars.

[fefairys]

"There's the Underwood again, which is Doc's typewriter. I'm really not pretending there's much separation between myself and Doc, Lord English, et al. This whole charade is about "dressing up" as a member or leader of this villainous mafia outfit for the sake of explaining things about my own story, which now I am doing down here as well for good measure. It's a critical question of Homestuck: is AH, the "real" person, closer to the self-insert buffoon or the nefarious meta-villains he has created as projections of his antagonistic creative proclivities?"

"Here we see a better-rendered version of myself positioning a shittily-rendered version of myself to begin typing this white-texted excerpt as if he were a stage prop. You could look at this as a funny gag, which it is. I also see it as a visual expression of the textual detachment between the "real me" and the "cartoon me." I myself am just another prop I can play with for whatever creative purposes I have, and statements I might be making. It's just another way of tipping my hand in these otherwise innocuous self-insert segments: nothing is really what it appears to be." -Andrew Hussie

i think this is cool as fuck actually i think a lot of ppl find this whole self-insertion and the way hussie talks about it to be pretentious but i just genuinely find it extremely intriguing the way they toy with the idea of authorship. the way that being the author is comparable enough to being the antagonist that you might as well just put yourself in the story and make yourself the actual antagonist character. bc when u think about it, the author IS the antagonist. they're REALLY the ones making all the bad things happen to the characters, after all.

[archietransdrews]

literally talking to the walls of my room like. riverdale's internal logic relies on the explanatory power of one's origins to an absurd degree, framing the actions of the protagonists as prescribed by their generational predecessors to such an extreme that the town's founding years not only provide meaning, context, and motive to current events as is typical in an archetypal place-based narrative but futhermore exert a horrifying control over the characters, compelling them to repeat or rebel against the actions of long-dead townspeople to whom they are only distantly related. these scenes from the past, when included in the show, are filmed using the same actors as the present-day scenes, producing the past as not only reminiscent of but in some aspects identical to the present. blood and bloodlines are used by various characters as explanatory schemas for the behavior of different characters throughout; riverdale is a place overdetermined by its own origins to the point that our protagonists spend years trying and usually failing to escape the combined generational curses of an entire town whose entire history consists in the repetition of its own genesis ad nauseum. does this seeming over-reliance on origins exaggerate the process to the point of effective parody, or does it merely & more straight-forwardly reinforce the [genetic] origin as privileged locus of [fictional] meaning?

a potentially conflictual reading of riverdale's historical "origins" is that they are invented or produced through the act of jughead's narration of riverdale as text; this reading posits that there is no "before" the pilot of riverdale, save what jughead invents to give additional meaning to the events which make up his plots. riverdale is his puppet show; everything in the text has been filtered through his point of view, which is to say that everything acquires the exact same level of (un)reality, whether it's a comic book character come to life or the sins of one's ancestors. in this framing, the true origin, and the key to whatever meaning might be made of this text, is the moment jughead's narration begins in the pilot with "our story is about a town.." in foregrounding jughead's ongoing acts of authorship and creation which function to continually produce the narrative & all it contains, riverdale destabilizes epigenetic origin as a locus of meaning by framing it as in some way artificial, invented, unreal; however, it does this by substituting another, no less authoritative, specifically authorial origin in its place.

and there is still a THIRD possible genealogy through which we can read riverdale as understanding itself, namely the genealogy of the cinematic canon. we well know that riverdale is constantly referring back to earlier moments in the history of film, from 70s noirs to 80s coming of age movies to 90s thrillers to etc. etc., not so much situating itself within this history as aiming to encompass all of the various stages of the medium's development. this argument could be broadened to include the histories of other prominent cultural forms, namely the novel and the comic strip; the meaning in riverdale might be said to be primarily derived from comic conventions, the principles of character creation and economy of image that have governed strips for decades and which now cause riverdale characters to wear outfits that have no in-world meaning except to refer back to their original iconic wardrobes, e.g. archie and jughead's S and R t-shirts.

which of these frames has the most explanatory power? which best helps us to understand or analyze why events in riverdale play out the way they do? i think in most cases one needs some combination of the three to be able to even begin getting at what's going on, which suggests that at least part of riverdale's project is the destabilization of the genealogical narrative via the introduction of several distinct, at times competing, narrative origins. riverdale is a story whose meaning is located simultaneously in the past, the act of narration, and the development of cinema and comics as mediums. while this structure does not necessarily step outside of the dominant symbolic framework that looks to origins in order to generate the meaning of a text, it is in typical riverdale fashion that the show wants to do everything at once, meaning in this case that rather than privileging one frame through which we are meant to make sense of the show's content, we are given to several possible readings which are all compelling in their own ways & when taken together succeed in troubling the final authority of any one interpretation.

[kiyrian]

I love how Alan Wake II is so much more House of Leaves than the original was.

The theme of authorship, of authors being characters and characters being authors. Of echoes moving in time. Of mothers who try to ready their sons for the darkness.

And love. The love that doesn't save them but makes them push forward so they can save themselves.

For anyone ready to go on this journey with me, let's go.

So in House of Leaves, we have Johnny - our main character. He finds a book left behind by a recently deceased man. We get to read this book with Johnny adding his comments. Often those comments are stories from his own life. We get to learn how he feels observed and sometimes attacked by this dark presence. The book overtakes his life. He doesn't feel safe, he isolates himself from everyone. I see this part as what we can see in AW 1

It could be a simple story of being driven to madness by knowledge. Only Johnny admits that he is changing the original contents of the book. He outright says it with a not-that-important detail, but it makes us wonder - is he changing anything else? Are the parts that have been scratched out (!) done by Johnny or the previous owner of the book - Zampano. And here starts the journey explored in AW2.

But is Zampano even real? After all, Johnny also lies about the stories from his life (also a thing he admits to us). At the end of the book, we can read letters that Johnny's mother wrote to him when he was a teenager. He grew up with a foster family as his mom stayed in a mental hospital and his father died. His mom was hospitalized because of schizophrenia - in her letters, we can see her mental health fluctuating from better to worse, up until she commits suicide. During one of her episodes, she created a code she could use to communicate with her son without the hospital staff knowing. A code that can be also found in Zampano's book. There are other signs alluding to Johnny's mom in parts supposedly written by Zampano. So maybe it's not Zampano who is not real. Maybe it is Johnny. Maybe this is all written by a man who imagines someone finding his writing and commenting on it? Who created who?? An echo traveling back in time to change the future - a phone call from yourself that haven't happened yet. An author who writes a story with a poet in it. A poet who wrote poems about a boy who will come and continue his battle. A movie maker who may be a poet but isn't.

Johnny's mom tried to ready her son to face the world. She tried to show him the beauty of words, of reading and learning. She was always in his corner, ready to give him words of support to her best abilities. She told him the world may be hard but he is special and he will beat the odds. A mother that knows her son fears the dark so she gives him a light switch.

Okay. Fine. But what is actually Zampano's book about. A family of four moves into a new home - a photo journalist and his wife with their two young children. Only that this House is a little weird. It is bigger on the inside. Its hallway keeps on growing until a whole new area can be found. More and more dark corridors sprawl in this space that shouldn't be. Will Navidson - the photographer - travels through this space trying to document it. At a certain point, his wife takes their children and moves away. But Will is obsessed with this place - it is his journey to face his own demons. He feels so much guilt for only being there to photograph tragedies without helping people who suffered. (an analysis of his character could take another whole post). He goes deeper and deeper into the house, down a spiraling staircase, up until he fully loses a way out. He is stuck, no way out, waiting to die. Only... his wife hasn't given up on him. For all their problems (the house move was supposed to give their marriage a new chance) she still loves him. She creates a movie solely dedicated to the happy moments they've had together. She goes back to this haunted house and tries to find him. And just like that a way back for him opens. He crawls back from the darkness. His wife's love made her go back to face her own fears (she's feared the dark for a very long time). Husband and wife who struggle but still love each other. Who survive after facing the dark, facing their demons. Who pull themselves out of depths of despair. Wives who take time to memorize those happy moments since they know the men they love are more than their worst moments (more of AW AN moment).

I am doing a great disservice to House of Leaves (and AW2) by trying to sum it up in those few points so please, please read it if you haven't. But I want to show those points that I can see reflected in AW2. Besides, of course once again using Poe's song (sister of the author of House of Leaves who did an album accompanying the book. Haunted from that album was used in AW1). And the motif of Yggdrasil at the end of the book.

There are probably so many things I am forgetting. I need to reread this book. It's this time of the year again.

[lordkeeran]

Unpopular Opinion Warning

It seems like Gojo is back, but it's unclear why. The scene is strange and could mean anything. However, let's assume he is back and discuss it.

Once again, we are faced with the lack of courage in front of the fans and the lack of authorship typical of shonen. Gojo had his own narrative arc, beautiful, complete, and ended with what seemed like a suicide in all respects.

But the fans need to be satisfied, and so, just like it was for Levi, here he is back, for no reason, taking away the role of protagonist from Yuji once again.

Let's face it, Gojo has always been selfish and self-centered, as evidenced by his entire love story with Geto. His decision to stay dead with his comrades at the airport would have been, and was, the definitive confirmation of this.

Gojo's role was over, he had nothing left to say;

his closest comparison, according to Gege, is Kakashi. Kishimoto brought Kakashi back from the grave thanks to Nagato, but Kakashi still had a role to play: Obito.

Gojo, on the other hand, is finished. Geto is dead, he has proven his strength, his students have proven worthy of his legacy, and Yuji was getting the better of Sukuna.

When authors bow to the wishes of those fans who make a fuss, they stop being authors and become slaves.

[peninkwrites]

(putting my very long, very personal ramble under a readmore so folks can avoid it) (this won't include any of my plans for going forward or for my writing but I'm not going anywhere so don't worry about that. love to you all.)

A little disclaimer: If you have zero context for what I'm talking about, apologies for not explaining in depth, but this post won't be relevant to you otherwise. All you really need to know is that it seems that Wilbur Soot is an abuser, and Shubble came forward and talked about it recently. He was not named, but from what she shared, I believe that was who she was talking about. I don't say this to speculate, and if you disagree, I'm not here to argue over it, but it's enough for me personally to not to want to support him indefinitely, save for Shubble explicitly saying she wasn't talking about him.

Additionally, these thoughts are some incredibly personal and self-centered rambling. It does not reflect where my priorities lie, with supporting Shelby for coming forward above all else, but other people have said that much better than I have, and this post is really just a place for me to vent some of my feelings.

I prided myself on not falling prey to “parasocial relationships.” I didn’t get invested in the personal lives of content creators, only in their creative works. I thought this protected me somehow. I knew next to nothing about Wilbur Soot’s personal life, but I admired him deeply as a writer and empathized with him as an artist. I projected so heavily onto his character and did so for over three years. When I waited for his final dsmp stream, I felt panicked. Like my survival hinged on how he ended this story, and then he ended it in a way I could live with, and I thought I could go on loving this story and these characters for what they had been, no matter how messy the rest of the endings to follow were. His character was mine in so many ways. He had some of my problems and I gave him some of my own. I used him to process quite a bit. And now that part of myself is irrevocably tainted.

When the stuff came out about Dream, I was upset, but not betrayed. I never followed the creator and he existed only as a character to me. All I grieved then was the community his actions destroyed and most importantly the people he hurt. I planned to continue writing for the DSMP, even as I refused to follow any content involving him. It felt like a pause, not a full stop, while I ensured what I was doing did not show him any support. I also gave that character no pity and therefore the man behind him no pity, I had no personal investment in his character.

Now my response is visceral and bitter and I don’t know how to go on writing, because this character meant the world to me. I don’t know how to write about a character I truly love and see myself in, knowing the person who also loved and saw himself in that character, who created that character, has done horrible things. I don’t know how to write any of these other characters I have loved and cared for for over 3 years because he has poisoned them. All of it turns my stomach now and I feel so betrayed. The thought of his character is tainted because it’s connected to his voice and his face. I cannot separate the art from the artist both because it was the inclusion of the authorship within the story which affected me so strongly, and because there are things within the text that I look back on now and can only see that this person was always this way. I couldn’t sleep last night. I kept thinking of c!Wilbur’s line when he found out about exile, “he didn’t actually hit you though“ and his horror when c!Tommy responded that he had, that for some reason that was the turning point. The implication that it was only crossing that line, that particular type of violence, which made something wrong. Fucking disgusting.

I’ve tried to find another story before now. For the last few years, honestly, I’ve looked for something to latch onto the way I have with this one, but nothing feels the way this did. I know I’ve been clinging to something gone or at least mostly gone, both the community and the story, but I haven’t known how to let go when nothing makes me feel the same way, even when the feeling has faded and changed so much with time. This was never supposed to go on this long. Honestly, the reason I started posting mcyt stuff to my sideblog instead of my main was because I assumed I would get over it in a few weeks, delete the posts, and move on. Three years. 40 works. Over a million words. Just. Fuck.

I loved these characters so much and I’ve wrapped up my writing in them for so long it’s hard to separate the two. At this point, it feels like these characters are what allow me to write, separate from the main story, but a place where I could work things out for myself as a person and try new things as a writer. And I’ve tried so hard to feel the same way about the QSMP, but maybe it’s because we’re out of lockdown so I don't have time to watch much, or I’ve just changed more than I’ve thought, but I haven't gotten attached the way I did even when I look at the stories being built there and can see the heart in them, the storytelling, the care, just as much as the DSMP if not more. There’s no good reason for it, it just hasn’t locked into place the way this story had, having been the perfect storm of circumstances. The DSMP came to me during one of the worst years of my life, and I have loved it so much I miss that time even with all the bad it carried too.

And now this thing I have been holding onto can only make me angry, hit me with grief and disgust. Fuck, the only plan I’ve had for an original novel in years is a loose adaptation of TDDD. My senior thesis was largely a novella about two siblings with a complicated relationship, the older fatalistic, the younger brave to the point of ignorance. So even that original project has poison in it now. All of it, all of my fucking work, all of my growth as a writer, all of my writing for over three fucking years has poison in it.

I’ve felt lost as a writer for a long time and the only thing keeping me anchored was these characters. And I don’t know how to cut them away from myself and I don’t know how to cut him away from what’s left when his writing, his character, undeniably gave me so much of a spark. When I’m happy, I write. When I’m sad, I write. There's so much bad in the world right now, but I could always fall back on writing. And now my main means of escape is the grief. Far more than ever before. I know this too shall pass and all that, and this hasn’t actually stolen my ability to write, but right now it all feels so ruined. I don’t know how long it will take for me to be able to look back on what I’ve made and not feel like this. I'd maybe moved on in some ways, but not all. There was so much left I wanted to do.

If you’ve somehow read this far, know that I love this community with my whole heart. I never quite made friends with any of you, even as I wanted to, and it's felt too late for a long time now. My beloved mutuals (and followers that are mutuals in all but name) I have found so much joy with you, in what all of you have created. I wish I could hold onto that above all else, even if I’m not quite sure how. I’m not going anywhere, to be clear. I won’t delete my blog and fall off the face of the earth or anything. I still love what all of you create and care about, even if things have changed and our interests don’t always align anymore. I don’t know if I’ll ever be able to detach this story from the creator, to love any of it the way I did or even love what I myself created again. I don’t really know why I’m writing this or if I’ll even post it except for the fact that you all are the only people who could understand.

Again, this was a deeply personal rant, not a statement about the situation as a whole, nor do I think this situation's impact on me takes an ounce of precedent over the person actually involved. The most important takeaway from this is what Shelby has shared, the importance of believing victims, to do what we can to protect ourselves from abuse that doesn’t seem obvious, and to look out for each other. Take care of yourselves, everyone.

[carbuncle-paws]

oh god, I'm sorry things are taking so long guys QwQ I've been holding off saying this because I wasn't sure at first, but I think I was hyperfocusing way to hard to get chapters out weekly and hit a bit of a burnout (which to be clear is not anyone's fault but my own, for being impatient). My partner has been helping by coaxing me to relax and spend time doing other things (like, stardew)

I really love the story I've been making and still want to finish it, I don't want you guys to think I'm dropping anything! I'm just taking a short break from authorship for the time being. After I return to writing, updates might be a little more sporadic since I'll be trying to go at things at a more casual pace, to avoid burning out like that again.

On the flip side of this, I'll probably be coming out with a stardew mod that replaces Elliot with Peter at some point in the near future :3 since replacing his sprites and dialogue would be very easy for me to do!

[therealslimshakespeare]

Okay I need to know everything about Jack and Tilly meeting and falling in love I'm obsessed

Ooh story time my sweets,

Gear up for a tad of angst (life is shit without Tilly) and absolute fluff (once Tilly is in life)

There once was a very devoted twenty four year old Air Force captain who had lost his fort, a crew member and his freedom before noon one day in 1943. Since then there had been a catalogue of nothing short of shitstorm of awfulness, a brutalized sister arriving in camp, a dead niece, medical experimentation and a new hustle of bartering bodily autonomy for basic human needs required by his men, the fucking SS taking over the camp, more than a little medical experimentation happening then, news his beloved dad has died back home, Major Egan quite plausibly having lost his damn kind, his sister’s tormentors running the fucking camp and-

Well, long story short. One day a group of Tuskegee airmen came in.

One with a snapped neck. Propping up an injured airmen between ranks during roll call was an all too common thing, as was some attempt to alleviate invalids boredom when they were forced to stay in bed. Richard Macon, Brady found out, was not only an incredible pilot, mathematician and an impressive land owner: he also liked jazz. And if there way anything beyond freedom and sunshine that Jack Brady liked too- it was jazz.

Now it was customary from new prisoners to write back home to inform their families that they were indeed alive, and try in the most delicate terms to inform their tender loved ones that their injuries or privations were minor.

“Jack’s the best liar we’ve got.” Benny sadly praised him to Lt. Daniels and it was agreed then that Jack should write a letter home to the Macon’s, one adopting the tone of his own letters back to Mama Ruth Brady in which he spoke highly of his healthy and happy sister and the chocolate pies they were eating and the small privations of not enough clarinet reeds. Mrs. Brady had gotten wise when comparing his letters to Gloria Demarco’s letters but Jack’s kindhearted run of literary deceit has lasted a good nine months, months that his recently widowed mother needed and everyone was very impressed with his awful ability to be fine when he wasn’t.

“It’s not like if I wrote about what’s happening they’d actually let it through the censors.” Brady had pointed out amidst his bunk mates aghast tumult when Gloria Demarco’s most recent letter came in citing the narrative white washing.

So, best liar Jack Brady set aside his sax one day at Richard Macon’s bunkside and wrote a letter instead. In truth it wasn’t too false but it was very demure about the effects of a snapped neck.

He also made certain it got through, which had been another reason for his authorship- any funny fucking business the SS might play with their new “colored” prison mates would be delicately bypassed if one of their best paying POW’s posted the thing.

Which is why the Macon family, including Miss Tilly Macon herself, got their first news of Richard in a foreign and modest scribble.

Tilly already being in the Red Cross, was engaged in providing relief packets which in turn had censor approved pamphlets and directional booklets for the use of medicines and provisions. If she began to scribble hearts and music notes on their margins in hopes that amongst the thousand one sweet and very false Captain might get a little giggle, that wasn’t her superiors’ business. When she wrote Captain Brady back via his mother in concern for her cousin, she might’ve let slip this sweet conspiracy.

So began a game. Of seeing if he could spot her handiwork. Writing to his mother with another letter enclosed that Ruth Brady, summoning the better part of wisdom, chose not to read and simply pass on.

If Johnny, in absolute catatonic misery over the worsening conditions and abuse in camp began to cling to the ephemeral idea of Tilly, that was hardly the worst coping mechanism. If he jokingly -it wasn’t a joke but sweet mother of god he tries to make it sound like one- threatened to marry her when he got back, the reply was chirping and anything but demure,

“please do, dear boy” 💋

[laxmiree]

[CN] MLQC Lucien's Through Thousands of Mirrors event translation (Day 1 -Thursday)

⚠️ SPOILER ALERT ⚠️

This post contains a HEAVY SPOILER for the event that has not been released in EN yet! Feel free to notify me if there are any mistakes in the translation~

Through Thousands of Mirrors Event | Day 1 (You're here!) | Day 2 | Day 3 | Day 4 | Day 5 | Day 6 | Day 7 | HS/Uni SSR Story: Monochrome Scenery

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[Tidbits: I don't wanna break the flow so I'll put some information here first 😂. Dr. Lawson is Lucien's post-grad professor. Before, he also appears in UR MQ Distant Similarity. During his post-grad he has three seniors Colt, Elliot, and Caroline.]

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[Math]

Seeing the particularly puzzled expression on the classmate next to him, Lucien starts to consider whether he should offer some assistance within his capabilities.

For instance, he thinks about telling the classmate that the topic currently being discussed on the blackboard is not from the same chapter as the one in the textbook he's currently reading.

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[MATH/BIOCHEMISTRY]

After the vending machine devours Lucien's one dollar and twenty-five cents for the third time, and with only three minutes left to get to his next class, he begins to seriously contemplate whether he should try some mysterious repair method—like giving it a good smack or a swift kick.

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[BIOCHEMISTRY]

Lucien coincidentally runs into Colt by the sports field, just as Colt is about to attend a cricket practice session.

Upon realizing that his senior from the lab is not only managing coursework and a significant project workload but also juggling a 20-hour weekly part-time job and daily school cricket team training, Lucien begins to contemplate whether there is any room for further optimization in his own schedule.

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[PREVIEW/COMPUTER SCIENCE]

During the brief half-hour period, Lucien typically uses the time to prepare for the upcoming class or visit the library to research and gather information.

In any case, that time should not be spent on arguing and explaining to people, like the enthusiastic campus volunteer in front of him.

"No, thank you. I'm not a high school student attending a summer camp. This is my student ID, and I'm indeed a student here, a graduate student. Yes, I'm not lost, and I need to get to my class. Can you please let me go?"

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[COMPUTER SCIENCE]

Lucien presses the enter key, intending to ask the teacher if he can leave early once his coursework is done. However, the error message on the screen deters him from that thought. So, he sits back down and begins to examine it again.

But that's okay, he does understand the commonality between computer science and experimental research: it's often hard to know right away if the thing at hand will work, why it's not working, or even why it's even working.

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[LAB]

Come on, come on, come on. After moving this box, there's another.

And after moving that box, there are three more to go.

The prospects for the future and the shine in one's eyes are often taken away by the God of research in such necessary yet mechanical repetitive work.

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[LAB]

Lucien goes out to get some water and returns to find a school burger on his desk.

Colt, with dark circles under his eyes, waves at Lucien and saying, "No need to thank me, newcomer. Have some food, we might be staying here today."

Lucien quietly eats the burger, hesitant to tell Colt that he has spent more time in the laboratory than in the dorm.

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[LAB]

When Dr. Lawson enters the laboratory, what he sees is a scene where his graduate and doctoral students are sleeping and sprawled all over the place.

On the laboratory whiteboard, several words were written in large letters: "Publish immediately! Guaranteed to be published in Nature!!"

Dr. Lawson retrieves small blankets from the cabinet, covering each of these research madmen.

He proceeds to organize the data and take over the finishing work on the project. Of course, when it comes to authorship in the paper, not a single one of these kids' names can be left out.