#because like. okay for one all stories are based on the human experience whether its About the Human Experience or not

[kazumasougi]

im gonna be real for a second. if fantasy can only be enjoyable to you when removed from any and all real world implications then is it even good

[shuttershocky]

Based on my (limited) experiences following the Type Moon fandom, it seems like there's such a wall between the fans of the "OG stuff" (mostly Mahoyo, Tsukihime, Kara no Kyoukai, FSN) and people who started with/also enjoy Grand Order, it looks like such a one sided thing where the fans of the older stuff tend to hate on FGO's writing and whatever it might have done to have done to Type Moon and Nasu's priorities, while the FGO fans just seem to enjoy the story while still being happy enough to support the OG stuff (Mahoyo/TsukiRe english release for example)

That incoherent wall of text is basically set up for me to ask what *you* think of FGO as someone who I imagine came from the older works. I'm curious about how you feel about the writing and stories in particular, from the arcs where Nasu started to be more involved (I haven't played them, but I believe it's Camelot?) since that's where I heard they started to get more elaborate. Do they live up to the experiences you've had with TM's other works?

Sorry for the long question, and I hope you have a great day!

Wow. I've been here for an incredibly long time if people no longer know about how much I used to play FGO.

Anyway, I would say what really sets FGO apart, not just from the rest of Type-Moon but even from other Fate works, is its scale, both in terms of the storytelling and its real life commercial value.

The hate you see many non-FGO playing TM fans have toward FGO is resentment towards how much it has simply taken up Type-Moon as a whole. The Tsukihime Remake was announced all the way back in 2008 and released in 2021 for example, partly because FGO taking off the way it did in 2015 meant it took up all their time and effort. They could not focus on anything else.

As their biggest moneymaker, it also began to warp the production of other works around it, as FGO had now become the main way by which people got into Type-Moon. Therefore, all things had to appeal to FGO fans in order to sell whether that was Fate/Extella Link pulling in FGO cast members like Scathach and Arjuna into the game, or Fate/Apocrypha's anime adaptation including as many FGO cameos as possible like Medea Lily (what was she even doing there lmao).

Of course, just adding FGO references doesn't automatically make something bad. Fate/Samurai Remnant for example has made fantastic use of FGO characters while mixing them in with new ones. However, you also get stuff like Melty Blood Type-Lumina having Saber, Ushiwakamaru, Dantes, and Mash all in the game while old fan favorite Melty Blood characters like Sion and Len are nowhere to be seen. You know that "Wi-fi is okay if you're close to the router" Melty Blood meme? That character Nanaya Shiki isn't even playable in the latest Melty Blood. When you see that and see not one, not two, but THREE FGO characters taking their place (Saber's a free pass), you'd see why there's a lot of resentment built up towards FGO by older Type-Moon fans.

As I said before, the difference isn't just in its commercial scale, but also in its creative one. Even in the most outlandish of settings, Type-Moon works are almost always smaller scale, character-centric pieces. Fate/Extra took place inside a supercomputer on the Moon, but it was about a glitch making an AI fight in a death battle between humans, and how that formerly blank AI feeling danger and wanting to live blurred the lines between what is human and what isn't. Tsuki No Sango (Coral of the Moon) was about a world 3000 years in the future, but the entire thing was a little space man in the palm of a girl's hand, listening to a love story about a man and a computer on the Moon.

For all its many similarities to previous TM works, FGO is still ultimately a save the world type of story. It starts with a demon destroying all of time, and then turns into a death game between entire timelines. It's big, it's bombastic, and it's instantly accessible, the kind of story structure you want to be able to fit the gacha format of an endless stream of new characters while keeping the ship steady with an overarching plot that lets you keep meeting an endless stream of new characters.

That's not really what I'm a TM fan for. I played FGO for its first 3 years, and once they brought out the Lostbelts I realized I was already satisfied and did not want to read yet another big world saving adventure plot all over again. I was pretty happy with how the first arc ended already, so my interest in continuing FGO shriveled up soon after.

Quality wise I'd say FGO is a very mixed bag, inevitable when FGO itself is a mix of very different writers (who themselves can be pretty inconsistent, Nasu included). Plenty of FGO chapters have also been cursed with subpar adaptations (looking at you, Camelot and Babylonia), further muddying the perceived quality of the stories.

I will say when FGO is bad, it's really bad (and often pretty racist), but when it's good, it's really good. For what I consider to be a mediocre baseline, FGO has some incredibly high peaks that rival the best in Type-Moon, and even when something is just okay execution wise (like Shimousa), some of the characters, concepts, and story beats are just so damn cool that they become intensely emotional and impactive all the same and inspire superior adaptations and follow up works (like Shimousa).

That being said, my favorite stories in FGO were the ones that would use much smaller scale, isolated adventures with a far stronger focus on characterization and emotional arcs that follow its thematic ones. Aeaean Spring Breeze is one of the best examples, being a tiny event about helping Circe move on from having been rejected by Odysseus in life, with some incredibly solid character work and a great understanding of how to mix the needs of a light-hearted comedy event with making genuine, emotionally compelling moments from a character that almost never speaks from the heart.

[orkbutch]

OKAY SO I'm wired and can't sleep so to tucker myself out I am going to do that Karlach personal story post. And ofc this is just my interpretation, my read, of Karlach's story through the game. I am not saying this is Correct. Just to be clear.

Controversial opinion: I liked Karlach's end story even from base game, before they patched in joining her in Avernus. I thought it was super bold and kind of impressive. But I'm glad they added the patch. For me, thematically, whether Karlach goes back to the Hells or chooses to die in Faerun is her taking a different approach to the same extremely difficult, human problem. Both ends are bittersweet to me, both tragic.

Thematically, like all of the origin characters, Karlach's story is rooted in discussing community and agency. She is lonely. She wants freedom. She wants to live so much life, as much as she can. I see Karlach thematically as someone with a terminal illness. She is someone living as if her life will end, she is tying up loose ends, she's wrestling with mortality, she's thinking about her legacy and trying to ignore all the things she might not get to have. And when she does think about it, when it peeks through, you can see that she is in mourning; she is grieving all the things already lost, the future she cannot imagine.

Going off of that, what do each of these endings say thematically? They are both choices, both exercises of agency, but tinted a little differently.

Thematically, Karlach choosing to die is bittersweet; its very sad, but it also makes me think of euthanasia. An act of agency that grants comfort, dignity, relief. The ultimate gesture of self determination for someone who has had so much of their life and body taken from them entirely. On the other hand, it is self destruction. It is Karlach seeing how she has been changed, and going, "This isn't worth it. If this body can't be what I need it to be, it shouldn't exist at all." That is devastating.

So then there's the other side of things, the return to Avernus. What does this mean thematically? It is a declaration of worth; "Living and my existence is worth the struggle. It's worth the risk. I can make this body my home again". It also makes me think of another very real, human experience after near-terminal illness or disability; it reminds me of adjusting the goal posts, of grieving, adjusting and accepting the new reality of life in the body you have now. Of finding new definitions of living, expanding how you find fulfillment. The incredible resilience that takes. The work of rehabilitation and recovery, of finding and establishing new systems and habits, is all slow, difficult, often painful work.

But it is worth it for life, for getting to stay. To see how you change, what you're capable of being. And I think this is particularly important with Karlach because it would surely lead her to becoming someone more whole than she's gotten to be for many years. I don't like the idea that returning to Avernus kills the innocent girl within her or whatevs; the innocent girl is only a part of her, one that endured all through the Hells. In struggling and trying toward life, Karlach is reaching for a future where she won't need to be divided at all. Where she is loving and very kind and forever, undeniably changed by Hell, but that experience and the conquering of it becomes strength. It is her, and she is worth living and loving, so the part of her that is Hell touched is too. But it required her to want different things, to adjust what living fulfilled meant to her. And that is hard, and a little tragic. But also very human and lovely to me

i love ... karlach the end

[bagog]

Star Trek: Discovery Narrative Highlights

So I really like Discovery, but differently than I like other Star Treks. My love for Voyager, for instance, is based off the sense of found-family in the face of sci-fi shenanigans. I could pick out favorite episodes, but my favorite episodes don't necessarily represent the epitome of what I love about the show, y'know?

It's different with Disco. There are concrete moments from through out the show that made me go "Okay, I like this, I want this. More of this." Here's some of them! This is indulgent and all from memory

Season 1 - Klingons Speak Klingon

In a story about Klingons fearing the Federation as an institution which will irrevocably alter their culture, the Klingons actually speak Klingon. Love it. Season 1 - Gabriel Lorca

I loved seeing a Star Fleet captain who seemed to have ascended because of his skill at war: a trait which ordinarily would not elevate one within Starfleet service, per se. It made him interesting. Your mileage may vary on where this went, but. He's still a big appeal on rewatch.

Season 2 - Queer People Helping Queer People

The introduction of Jet Reno is one of my favorite hallmarks in the show. I love Jet, and I love the way she serves as a foil to every other character. But best of all, I loved the scene when she is talking to Hugh Culber about how distant he's been from his husband (since coming back from the dead, so, you know) and helps him by relating her own story about her wife, who is now passed. To say I'm happy to see queer stories on Star Trek is a massive understatement, but this was the moment it locked in for me. In the world of the Federation, there's no difference between being queer or straight and anyone could've talked Hugh out of his funk. But in our world, it's usually queer people helping queer people make sense of their experiences. Recognizing the importance of that distinction and going with the queers-helping-queers take is a really big deal for me.

Season 2 - Amanda

This is hands-down the best representation of Amanda we've ever been given and she is so wonderfully human and warm that it helps you understand Spock and Michael so much better. I don't know what to say other than that, I love her.

Season 3 - The Future

I love that they went not just into the future, but further into the future than any mainline trek lore has gone. Hell yes. I'm bummed it's kinda a post-Utopian mess, but I get storywise why that's the case. I love the future starships, I love the future technology, I like that we just "BZP" to wherever we want to be in the ship now. In a show increasingly steeped in centuries of canon lore, it's smart and challenging to try to do "a millennium in the future."

Season 3 - Queer Family

Queer Family! Queer Family in Star Trek! This is my queers-helping-queers point but dialed up to 11. Love it, would do anything for it.

Season 4 - Artificial Intelligence

The ship is alive and she's named herself. This comes to a head in an episode in Season 4 where Paul Stamets feels very hesitant about this, after the plot of Season 2 was trying to stop AI from destroying the galaxy. There's this whole Measure of a Man but Not Quite Because Its the B Story thing going on, but at the end of it, there's a twist. Paul eventually learns to accept his new crewmate, but then he asks the person in-charge of the inquest "What would you have done if I said I wasn't comfortable serving with an AI?" and the dude goes "I would've assigned you to another ship. This was never about whether she has a soul or whatever, it's about if you can learn to accept that with you 22nd century brain." And that's.... that's great.

Season 4 - Mental Health

Mental Health is a thread running through some of Discovery (Season 2 flirts with Spock's neurodivergence, for instance) but never more than in Season 4. Hugh Culber, the ship's ray of sunshine and de facto counselor, is in bad shape, mentally, and he needs help. But the best moment is when the away-team is beset by chemical memories of panic and basically rendered useless with fear... except for Detmer, who helps them all get through it. When asked why she was unaffected, she says "Oh I totally was affected, but after my grievous injury during the war, I went to therapy for the PTSD and learned some coping strategies" AND THAT'S WHAT SAVES THE GALAXY.

Anyway, this is very indulgent and probably nobody reads this, but thanks if you did.

[captainsupernoodle]

Thinking about Midnight again

its really good!

Sometimes a short story is "hey how do people react to Fear in this specific instance" and when it's done right it's a very visceral experience that sticks in the mind no matter the genre

But it's also a lovely microcosm of Ten, the best and the worst of him (on an average day, as opposed to when hes being attacked by his specific traumas)

Ten is a big old nerd and a control freak (I think their relationship with Donna is notable in that they try to share with her a little more and she puts up a huge fight when she wants to instead of letting them roll over her) so his reaction to the unknown is to put himself in charge because he knows stuff and people should listen to him!!

Like. Right off the bat he goes "everybody being on their phones is Boring, wouldn't it be better if we all talked to each other?" and immediately imposes his desire on everyone else without asking or trying anything else. Control freak.

So the moment they say "I don't know" that absolute control is shattered, and they don't adjust. As the situation devolves he keeps trying to appeal to logic and better nature, pushing and pushing until he lays down an ultimatum (do you really think you can commit murder?) based on incorrect assumptions about people's fear reactions. Drawing a line in the sand puts them on the other side of it instead of shocking people out of fear into thinking or threatening them into compliance.

Ten has been pretty "my way or I kill you/depose you/otherwise take away your ability to oppose me" since the very first episode so it all tracks

on the other hand he's trying SO HARD to be compassionate and to help all of them and to keep everyone safe! That's all they want! They genuinely do know more than the people around them and they're right on almost every count in this episode. Things might have not worked out depending on the critter's intentions but the chance of everything being okay would have been much higher if people Calmed Down and didn't try to hurt something they were scared of. Whether or not the Doctor is justified in the actions he takes, it's gotta be maddening to see people make the same mistakes over and over again and people dying and getting hurt about it when you're RIGHT THERE and you can FIX EVERYTHING if they just LISTENED

Contrast with Donna's communication techniques! She fights with the Doctor, is generally sarcastic and opinionated, but doesn't walk all over people in her daily life. When a situation needs someone to be in charge, though, she takes it with a level of calmness and confidence ("I'll take a salute" in poison sky, organizing the military and evacuation in Death and the Queen). One-on-one, she finds common ground with people and pays attention to their lives and troubles (meeting Martha, "temps united" in technophobia), and with vulnerable people she softens her voice and body language and gives them space to speak (the ood, kinda, um - almost every woman she meets lol but esp the assistant in silence in the library).

Yeah I think midnight would have played out very differently if Donna was there haha. The doctor can be an expert, and Donna can both comfort people and rein in the doctor when they're being overbearing.

Donna pays more attention to social cues (and she is a human! The doctor is not!! They're doing pretty good for being a completey different species!) and draws the doctor's attention to little but important things they often miss while looking at the big picture

the doctor has always been a rogue figure and almost always In Charge or up high on the relevant social ladder, while Donna defines herself as "just a temp" - nobody important, by definition someone who supports the social ladder instead of ever getting the chance to climb out and who's always moving from place to place. I think that shows in how she can deal with not being in charge while ten Struggles with it

Anyway midnight is good and Donna makes a very skilled doctor-human ambassador and friend

[tathrin]

Hey what are you doing ith Legolas and GImli in your sw au?

Oh no why are you asking me about this again I was going to be productive today I am a liar thank you for being interested in my absolute nonsensical osik. Okay, here are my notes, a little fleshed-out for clarity because I short-handed a lot while I was trying to get this out of my head so I could go to sleep:

Legolas is one of the Rangers of Toprawa, which was bombed into "savagery" by the Empire generations ago, shortly after the Jedi were wiped-out in the Purge; unlike most planets that have suffered this sort of treatment by the Empire they are not forgotten by the wider galaxy, however, but have passed into a sort of boogyman-story status, because every now and then someone will run across a Ranger who got off Toprawa and said Rangers are fucking weird in that just-bizarre-enough-to-be-almost-plausible way that stories and rumors really love talking about (and exaggerating). It's all "spacer's tales" that aren't really believed, but...well. Spacers are a superstitious lot, aren't they? So: the Rangers of Toprawa. Some people don't even believe they exist ("surely the Empire has wiped them out by now!") but regardless of whether they're believed to be real or not, they are considered "less wise" than people from civilized planets, and also "more dangerous." The state of their homeworld contributes to this, too.

For the Empire has long kept a dark base on Toprawa, a place for twisted experiments and torture: Dol Guldur Base. (Perhaps Admiral Khamûl will be the officer in charge; perhaps it will be Admiral Daala, or Derricote?) Its noxious emissions leave a constant pall upon their once-lush forest world, and the Empire has not fire-bombed the planet to kill the surviving Rangers only because they A: do not know how many of them there actually are (or they might be more worried), and they B: like having them as potential subjects to capture for their experiments, and as training for their troopers to hunt in the woods…but the Rangers hunt back. (This is also a source of the stories, because stormtroopers gossip too. And when you make it back from a deployment on the Scary Weird Forest World Where The Terrible Imperial Experiments That You Don't Have Clearance To Know The Details Of Aren't The Scariest Things Out There, you talk about it. To your fellow stormtroopers, if no one else; but stories leak, stories spread. And the Rangers are creepy enough to be fun to talk about, even if you don't really believe they're real.)

There was intermarrying between the Rangers and the Jedi they worked alongside for centuries, and the Rangers all have varying degrees of low-level Force Sensitivity now. Many of them (again, see: intermarrying; they're a mixed group) are a near-human species called Silvans, or at least have a lot of Silvan ancestry (it is in fact more than likely that the "Silvan species" known today is a result of generational mixing between humans and some other species, or more than one; due to being confined on Toprawa for the last four hundred years, and thus subjected to a comparatively small reproductive pool—not enough for inbreeding dangers, thankfully, not until the Empire decides to kill a lot more of them—they've become a largely homogenized species or sub-species of their own.) Silvans are tall and slender and agile, at least compared to bog-standard humans, with pointed ears and sharp teeth and heightened senses (some of which is due to their species and some to their connection to the Force).

They favor ranged weapons and ambush attacks, but are adept at hand-to-hand and melee fighting as well. They prefer their home-built bowcasters over normal blasters (they've become adept at scavenging Imperial technology, because that's all they've got), because they are more accustomed to them; they require greater strength and accuracy to wield properly than plain blasters do (which they consider crude in comparison) but are capable of longer range accuracy and tighter shots with less charge (because they can only scavenge power packs from Imperial weapons so they have to be prudent with their ammo). They also cannot be set for stun—more dangerous, remember!

Legolas's parents are insurgency leaders on Toprawa. Haven't decided how/why he gets off-world yet; perhaps we'll give him a sort of Force Vision al la Faramir and Boromir's dream? Or perhaps Aragorn comes to Toprawa seeking something, and picks him up there. Regardless, he's not been off-world long when he ends up pledging loyalty to Aragorn (Rangers help the Jedi, remember! He'll be very excited to find the Jedi still exist, but not surprised; some on Toprawa have given up hope, but he's young and optimistic and always believed there had to be Jedi still out there somewhere) so we get to have the fun of him Reacting To Commonplace Things With Confusion And Shock because he grew up on the feral forest-world.

Gimli is a Mandalorian, of the Dwarrow species. Shorter, sturdier, stouter, and more heavily-muscled than human standard, they have a knack for mechanics and weaponry and are very clan/family oriented, which makes them a people who would be naturally inclined towards Mandalorian culture even before the Old Wars that saw their homeworld sacked and almost wiped-out and the survivors scattered, homeless, across the galaxy. Gimli knows some of the techniques for working with beskar, but he's not a master armorer; he might follow that path someday, but for now he's young and eager to explore the galaxy and it's been a while since he went home to the family forge and farm, although he talks about his large family a lot. He keeps his hair and short beard braided tight against his skin beneath his helmet. He's a member of the True Mandalorian faction from the moon of Erebor, the Lonely Mountain clan.

The Mandalorians and the Rangers of Toprawa do not get along and never ever have, because the Mandalorians used to fight the Jedi a lot which meant they fought the Rangers too; some Mandalorians even helped the Empire assault Toprawa in the Purge, although that was Death Watch of Nogrod, not the True Mandalorians of Erebor. (As Gimli will repeatedly point-out, because no one hates Death Watch more than other Mando'ade, no matter what certain pointy-eared woodland chakaare might claim. This will be a source of contention initially, but eventually one of bonding, once Legolas realizes that Gimli actually means it when he growls about lopping the head off every Death Watch member he can get his hands on with his beskar-and-cortosis axe, and Gimli admits that maybe Legolas isn't being dismissive of his hate for Death Watch just because Legolas's people also hate the folks who, you know, helped slaughter them.) They will be immediately suspicious of one another's intentions and will assume THE WORST in pretty much every interaction for the first several months.

They will both end up following Aragorn, in Legolas's case because "Rangers of Toprawa have always aided the Jedi; I cannot do less than my ancestors. Your cause is mine, Aragorn!" and in Gimli's case, because he initially got hired to help with a specific part of the mission and then quickly decided that yes, he was all-in on this insane quest, this is great, he's having the best time of his life, and "a Mandalorian does not go back on a job; our word is our honor, and I'll see this through if it kills me. Besides, to fight alongside a true Jedi? What more glorious cause than that! Our greatest defeat came at the hands of the Jedi Warrior Revan. If you mean to get between me and my chance to fight with a legend like that, Silvan, you'd better be prepared to meet me in battle for the right to stand at his side, because faithless is he that says farewell before the battle has been won—!" and arguing about which one of them "deserves" to be there and which one should OBVIOUSLY LEAVE and Aragorn will be like "omg can you PLEASE just shut-up and work together for ten minutes so we can overthrow the Empire and kill the Sith and no I didn't mean start kissing wtf is wrong with both of you kriff I hate this prophecy why is this my life…"

I realize I talked more about Legolas than Gimli, but that's because I had to invent a whole backstory for blending Toprawa and Mirkwood, while "Gimli's a Mandalorian" pretty much contains all the background detail I need to know for him, because I know exactly what that means in my head without elaborating further, but I tried to put a few more of those details in here before I posted it, so hopefully there's enough for folks to follow-along. But if not and you've still got questions, let me know. I am both horrified and delighted to talk about this more, thank you and curse you all (affectionate).

Also I'm keeping links to all the posts I make on this ridiculous au collected here, if you want to see any more rambling about it.

[hummingbird-games]

Y’all, I’m gonna get really sappy and personal and Weird for this Amare Tea Break, so for your scrolling needs, I’m stuffing all these thoughts under the read more,

or:

Gemini takes a moment to talk about Pride and the game Crushed and being a game developer and how all these things relate 😂

When I’m not spinning on my little hamster wheel in the indie game space, you can find me surrounded by books (...what did you think Corey was inspired by??? LOL). Right now, I have a Pride themed reading list for June where I’m specifically trying to read more aspec and trans literature. One of my current reads is Sounds Fake But Okay and there’ a quote I want to tattoo to my forehead, but instead I shall talk about it like a semi-normal person. 

...a love story. We say that because it is. It is a story based in love, about two people who love each other, and that’s all a love story needs. Our love being purely platonic, doesn’t make it any less worthy than the romantic-sexual stories we typically think about when discussing love stories...

Crushed at its core was written to be a love story. (It was also written to be SHORT but ehhh, it’s still short enough so...) That love is based on romantic love, and it’s a reminder and declaration wrapped in one. Black boys deserve to have love and to find love and to be loved. Anxious teens (who grow up to be anxious adults!!) deserve to have love and find love and be loved. Player choices define how Corey gets to his destination of that romantic love, but whether you get the bad, neutral, or good endings, romance is only part of that love story. 

I get sick and tired of platonic and familial types of love being seen as ‘lesser than’ or ‘stepping stones to something else’. Or that you’re not a complete, healthy human if you don’t strive to find something that resembles a romantic partner. 

And I’m addicted to romance stories. I will quite literally die if I don’t consume them on a near weekly basis LOL. I love shipping fictional characters and I love writing silly little stories based in the worlds of the media I consume. I have shed actual tears at weddings and sports games and work and etc. at displays of romantic love because I got so overwhelmed by the experience of watching other people express this. 

But...I get tired of watching other types of love get shit on.

So that’s where Corey’s friend group comes in and why even if they don’t have as much screen time as him, you can feel the love they all have for another

And that’s also where Corey’s dad and his older brother come in too. One, because I’m tired of the toxic Black masculinity but also I just wanted to show a soft Black teen boy who’s loved by the men in his life unconditionally.

Thanks for coming to my TED Talk.

Edited to add: I finished Sounds Fake after drafting this post and I do NOT recommend it, (plenty of other nonfictional aspec reads I’d recommend 10x over smh) however, I still appreciate the quote so everything else stays lol

[onewomancitadel]

Yeah yeah okay I am belabouring the point, but the implications Jaune/Weiss would have about Reverse Ozlem are worth considering.

Because the effective result is that Pyrrha's death neuters the love-line (it's not... a love triangle in a traditional sense). Pyrrha->Jaune->Weiss is fixed by just killing one of them. The implication Ozlem wise, of course, is that Ozma dying should've just opened up a different romantic option for Salem; you can solve the Ozlem conflict by Salem learning to just move on.

The natural refutation here is, 'How is Jaune/Cinder not more of the same?' My understanding of it is that Jaune/Cinder is totally unrelated to the Beacon plot, and transcends it. It was not a love-line or love triangle ever in question, and Jaune/Pyrrha... wasn't... an endgame romance... in a textual sense... Jaune doesn't hate Cinder because she killed his girlfriend. That's not the moral grief he has with her.

In a corollary sense, Ruby losing Penny is part of the Ozlem experience, but it's not a romance - it's not saying that Ruby loses Penny and then moves onto Oscar. I think they are skirting around characters experiencing loss with the promise of transcendental romance, because ultimately I think that Ozlem will be reunited. I think it's very possible that Salem will actually get what she wanted (that she ostensibly doesn't want, or doesn't know how to want, anymore). The same is true for Ozma (he just wanted to wait in the afterlife for her).

Of course you make the argument that Jaune/Weiss in this case would be some type of - subversion? Exploration? - of Ozlem, which I don't think it works as. Because I want to know a specific solution to Ozlem, so tell me it. Don't tell me to work around coincidence.

There is also nothing impactful about the pairing in relation to Ozlem unlike the other canon pairings. So in this case I would just have to assume the thematic motivation of Ozlem - despite its concrete presence across the story - is inconsistently applied and the romances don't mean as much as I thought they would. In that case, it's not the story I respected.

I am being completely unironic in saying that Jaune/Pyrrha (endgame true love) would work better for me than Jaune/Weiss and I would choose that over the latter, whether that ended up being Jaune alone (sad and terrible) or eternal reunion (a remix of Romeo and Juliet, maybe).

I don't enjoy the idea that the cosmic answer to Ozlem is 'Salem should've just found someone else'. She could've just waited, could've just listened to the brother gods, should've just moved on... it feels disrespectful of the importance of storytelling at a base level. Ozlem's love isn't coincidental. It's narratively very important, even if you aren't analysing it on a base emotional level. But love's no mathematical thing. It's alchemical. You can say 'but she should've---' all you like, but that's not human and more importantly that's not how love works.

[clairethecutepup]

So, you remember the plans for that Ed Edd n' Eddy (Assassin AU) fan comic series? Well, I think I've finally gotten it figured out, and I'd like to make this post to help ensure I don't forget (and maybe get people interested). Click "keep reading," if curious.

I've decided to forego the concept of "werebeasts," but only for the comic of C2ndy2C1d's AU idea. For a different and fully original series involving assassins, I'll utilize it 'cause it'll feel less jarring and all then. I mean, I'll give myself points for trying to give a reason why animal-hybrids existed in the AU's world, instead of basically telling the audience just to accept the fact; but let's face it, good excuse/reason or not, it always felt off and more a likely turn-off to viewers than anything.

If you really wanna know the whole "werebeast" ordeal: the organization's lab managed to reach a breakthrough, in form of living tools that combined animalistic and humanistic abilities, and they planned to offer these new creations to the more interested assassins for better/easier job completion. If you want an example, the best I can describe is to think of it like a "Kiba and Akamaru" situation, from the Naruto series, except with some animal/human-hybrid than a ninja hound. Again, it can be an interesting concept and idea, assassins working with animal-hybrid partners that serve them as needed, just perhaps not fitting for the "Assassin AU" of EEnE.

I'm still using Claire and Yami, though, they're just normal full-humans now that utilize a respective wolf/fox theme to them. However, there are a few extra changes: Cio will be added to the cast and HE'S the one with the Eds, Claire is now with Sarah and Jimmy (pray for the kid), and it's a concept of apprenticeship than being assigned to some "master." Yami and Nazz will still be paired up, as a dynamic Japanese-styled duo of swordsmanship and Ninjutsu (NOT like Naruto but the actual art).

Why apprenticing? Well, the organization decided its... "recruits" would have a higher success rate in "graduation" and the like, if they were given prior field experience, before the time comes to prove themselves. Yeah, let's just say, the resulting numbers weren't meeting the demand, with how they currently ran things... So, for some extra financial compensation (cue Eddy immediately dragging his friends into this), the veterans have a chance to train a greenhorn; but that means they share the consequences, if a pupil fails to properly graduate. If the pupil graduates, it's really up to them and their mentor whether they'll continue partnered up and all.

Mentors get to choose one candidate from a list of "most compatible" ones, and then that trainee will be under their wing for a bit. Nazz picks Yami because of her Japanese-based interests (more technique than racially-related), The Eds pick Cio because his brains are sure to pair well with Double D's (thus Eddy can make HIM do all the mentoring and rake in easy bucks), and Sarah and Jimmy pick Claire because I hate the kid and enjoy seeing them bully her.

... Okay, that's just the OUT-of-story reason I have, aside from her fighting style working well with theirs. The two will claim it's because they wanted a little extra spending money-- specifically, they want this giant plushie that'd be a great addition to their base. They also, especially Sarah, enjoy the idea of having someone to boss around and all, and you could "practically see [Claire] trembling in her photo~"... However, Claire's predictable meekness/timid-ness, making for a fun and obedient "toy," doesn't convey their full reason for choosing her specifically, nor are "serving toys" the main reason why they even entered the apprenticeship program... Sorry, but THAT isn't getting spoiled here.

As for Kevin, Rolf, Jonny and the Kanker Sisters, they won't be getting apprentices for their own reasons: Jonny and Plank already have to worry about getting just THEMSELVES safely out of their explosions, Kevin is more of a lone wolf and only partners with someone when necessary, Rolf would have rather passed on his knowledge of farming than assassination, and the Kankers probably would "be busy enough, without having to watch some helpless twerp" (perhaps as Lee would put it).

So yeah, I finally feel good about the fan comic now, and I can't believe I hadn't thought of it sooner! Heh, sometimes it's the simplest of solutions, like learning to get over Claire not actually being half-wolf... Aw well, I'm excited to start work on it, in between my fully original works, so I hope you all are, too!

[fozmeadows]

race & culture in fandom

For the past decade, English language fanwriting culture post the days of LiveJournal and Strikethrough has been hugely shaped by a handful of megafandoms that exploded across AO3 and tumblr – I’m talking Supernatural, Teen Wolf, Dr Who, the MCU, Harry Potter, Star Wars, BBC Sherlock – which have all been overwhelmingly white. I don’t mean in terms of the fans themselves, although whiteness also figures prominently in said fandoms: I mean that the source materials themselves feature very few POC, and the ones who are there tended to be done dirty by the creators.

Periodically, this has led POC in fandom to point out, extremely reasonably, that even where non-white characters do get central roles in various media properties, they’re often overlooked by fandom at large, such that the popular focus stays primarily on the white characters. Sometimes this happened (it was argued) because the POC characters were secondary to begin with and as such attracted less fan devotion (although this has never stopped fandoms from picking a random white gremlin from the background cast and elevating them to the status of Fave); at other times, however, there has been a clear trend of sidelining POC leads in favour of white alternatives (as per Finn, Poe and Rose Tico being edged out in Star Wars shipping by Hux, Kylo and Rey). I mention this, not to demonize individuals whose preferred ships happen to involve white characters, but to point out the collective impact these trends can have on POC in fandom spaces: it’s not bad to ship what you ship, but that doesn’t mean there’s no utility in analysing what’s popular and why through a racial lens.

All this being so, it feels increasingly salient that fanwriting culture as exists right now developed under the influence and in the shadow of these white-dominated fandoms – specifically, the taboo against criticizing or critiquing fics for any reason. Certainly, there’s a hell of a lot of value to Don’t Like, Don’t Read as a general policy, especially when it comes to the darker, kinkier side of ficwriting, and whether the context is professional or recreational, offering someone direct, unsolicited feedback on their writing style is a dick move. But on the flipside, the anti-criticism culture in fanwriting has consistently worked against fans of colour who speak out about racist tropes, fan ignorance and hurtful portrayals of living cultures. Voicing anything negative about works created for free is seen as violating a core rule of ficwriting culture – but as that culture has been foundationally shaped by white fandoms, white characters and, overwhelmingly, white ideas about what’s allowed and what isn’t, we ought to consider that all critical contexts are not created equal.

Right now, the rise of C-drama (and K-drama, and J-drama) fandoms is seeing a surge of white creators – myself included – writing fics for fandoms in which no white people exist, and where the cultural context which informs the canon is different to western norms. Which isn’t to say that no popular fandoms focused on POC have existed before now – K-pop RPF and anime fandoms, for example, have been big for a while. But with the success of The Untamed, more western fans are investing in stories whose plots, references, characterization and settings are so fundamentally rooted in real Chinese history and living Chinese culture that it’s not really possible to write around it. And yet, inevitably, too many in fandom are trying to do just that, treating respect for Chinese culture or an attempt to understand it as optional extras – because surely, fandom shouldn’t feel like work. If you’re writing something for free, on your own time, for your own pleasure, why should anyone else get to demand that you research the subject matter first?

Because it matters, is the short answer. Because race and culture are not made-up things like lightsabers and werewolves that you can alter, mock or misunderstand without the risk of hurting or marginalizing actual real people – and because, quite frankly, we already know that fandom is capable of drawing lines in the sand where it chooses. When Brony culture first reared its head (hah), the online fandom for My Little Pony – which, like the other fandoms we’re discussing here, is overwhelmingly female – was initially welcoming. It felt like progress, that so many straight men could identify with such a feminine show; a potential sign that maybe, we were finally leaving the era of mainstream hypermasculine fandom bullshit behind, at least in this one arena. And then, in pretty much the blink of an eye, things got overwhelmingly bad. Artists drawing hardcorn porn didn’t tag their works as adult, leading to those images flooding the public search results for a children’s show. Women were edged out of their own spaces. Bronies got aggressive, posting harsh, ugly criticism of artists whose gijinka interpretations of the Mane Six as humans were deemed insufficiently fuckable.

The resulting fandom conflict was deeply unpleasant, but in the end, the verdict was laid down loud and clear: if you cannot comport yourself like a decent fucking person – if your base mode of engagement within a fandom is to coopt it from the original audience and declare it newly cool only because you’re into it now; if you do not, at the very least, attempt to understand and respect the original context so as to engage appropriately (in this case, by acknowledging that the media you’re consuming was foundational to many women who were there before you and is still consumed by minors, and tagging your goddamn porn) – then the rest of fandom will treat you like a social biohazard, and rightly so.

Here’s the thing, fellow white people: when it comes to C-drama fandoms and other non-white, non-western properties? We are the Bronies.

Not, I hasten to add, in terms of toxic fuckery – though if we don’t get our collective shit together, I’m not taking that darkest timeline off the table. What I mean is that, by virtue of the whiteminding which, both consciously and unconsciously, has shaped current fan culture, particularly in terms of ficwriting conventions, we’re collectively acting as though we’re the primary audience for narratives that weren’t actually made with us in mind, being hostile dicks to Chinese and Chinese diaspora fans when they take the time to point out what we’re getting wrong. We’re bristling because we’ve conceived of ficwriting as a place wherein No Criticism Occurs without questioning how this culture, while valuable in some respects, also serves to uphold, excuse and perpetuate microaggresions and other forms of racism, lashing out or falling back on passive aggression when POC, quite understandably, talk about how they’re sick and tired of our bullshit.

An analogy: one of the most helpful and important tags on AO3 is the one for homophobia, not just because it allows readers to brace for or opt out of reading content they might find distressing, but because it lets the reader know that the writer knows what homophobia is, and is employing it deliberately. When this concept is tagged, I – like many others – often feel more able to read about it than I do when it crops up in untagged works of commercial fiction, film or TV, because I don’t have to worry that the author thinks what they’re depicting is okay. I can say definitively, “yes, the author knows this is messed up, but has elected to tell a messed up story, a fact that will be obvious to anyone who reads this,” instead of worrying that someone will see a fucked up story blind and think “oh, I guess that’s fine.” The contextual framing matters, is the point – which is why it’s so jarring and unpleasant on those rare occasions when I do stumble on a fic whose author has legitimately mistaken homophobic microaggressions for cute banter. This is why, in a ficwriting culture that otherwise aggressively dislikes criticism, the request to tag for a certain thing – while still sometimes fraught – is generally permitted: it helps everyone to have a good time and to curate their fan experience appropriately.

But when white and/or western fans fail to educate ourselves about race, culture and the history of other countries and proceed to deploy that ignorance in our writing, we’re not tagging for racism as a thing we’ve explored deliberately; we’re just being ignorant at best and hateful at worst, which means fans of colour don’t know to avoid or brace for the content of those works until they get hit in the face with microaggresions and/or outright racism. Instead, the burden is placed on them to navigate a minefield not of their creation: which fans can be trusted to write respectfully? Who, if they make an error, will listen and apologise if the error is explained? Who, if lived experience, personal translations or cultural insights are shared, can be counted on to acknowledge those contributions rather than taking sole credit? Too often, fans of colour are being made to feel like guests in their own house, while white fans act like a tone-policing HOA.

Point being: fandom and ficwriting cultures as they currently exist badly need to confront the implicit acceptance of racism and cultural bias that underlies a lot of community rules about engagement and criticism, and that needs to start with white and western fans. We don’t want to be the new Bronies, guys. We need to do better.  

[astrolovecosmos]

Neptune: Deep Dive

Pink petals

fallen onto

night shaded

waters.

Nothing is ever as it seems.

Wood turned to metal.

Reality turned to dreams.

-Natasha Reeves 

The planet Neptune I think is most famous for two things - illusions and dreamy or ethereal associations. A lot of negativity is also commonly associated such as addiction, insanity, guilt, sorrow, denial, and doubt. This planet is complex and just like all the other planets has a huge array of associations. What prompted me to do a deep dive in Neptune? Well for one I’ve been going through the transit of Neptune in Pisces crossing over my IC which has been powerful and I am at the end of my progressed Moon in the 12th House. Also in my own chart I’ve been paying more attention to my natal Neptune placements... which are a lot more prominent and worthy of my attention than I’ve understood and noticed in the past. Honestly I spend a lot more time analyzing others’ charts vs. my own, and I really should have looked more closely at some of my own aspects. I have had a LOT of experience with Pisces influences throughout my life, intense ones. I want to make it clear that Pisces DOES NOT = Neptune. I’ve always wanted to write a whole essay about my experience as a Pisces friend, lover, family member, enemy, etc. An outsiders opinion but that isn’t this. This is a disclaimer because this is going to be both theory and my own experiences. This is a deep dive. 

The Sea’s Love and Wrath 

Neptune in a lot of mainstream media is described as gentle but this planet can be unpredictable and harsh, with erratic energy that could rival Uranus. Neptune can be about tolerance and kindness, seeing past the ego and material. Neptune can embody or promote unconditional love and forgiveness. Because Neptune can be about dissolving and merging this planet allows us to see ourselves in others, maybe even in everyone allowing for compassion, empathy, and the ability to love very freely and openly. But the illusion and deception of Neptune is its shadow. 

Romanticizing and idealizing can be one of Neptune’s downfalls. Many times this is described as putting other’s on a pedestal but this can be applied to any area of life from work to places to ideals. From this those with strong Neptune aspects or prominent placements can find that disappointment is a frequent visitor. Neptune square, opposite, or conjunct Venus can quickly fall for others, trust others, and gravitates towards those they want to help or who have a strong personality they can meld with. Neptune opposite or square Mercury may face the frustration and disappointment of frequently being misunderstood or finding that they easily misread others or trust their words. After feeling tricked there can be wrath to these oceanic bodies. 

Where will their vengeance or anger land? It isn’t fair if they idolize you to get mad at you... sometimes their anger is self-loathing and self-destructive, other times they take you down with them. But the lesson is that Neptune can be as soft and as dangerous as the sea. 

Enlightenment and Madness

Coming down from the high, was getting lost in Neptune’s blue. Dreams and visions dancing in the back of my mind, when reality is so hard to chew. Sensation used to distract and pieces of stories stitched together to where nothing is fact.- Natasha Reeves 

There are many influences that can grant us wisdom or enlightenment throughout astrology, but I don’t see too many writings or posts about Neptune and its connection to enlightenment, nirvana, or eurekas and on the flipside also insanity and denial. Neptune can pull away the fog to give us clarity - especially when looking at the whole of things, the big picture. Neptune can famously also be the fog. 

The transit of Neptune crossing over my IC/4th House brought a lot of light to my childhood and how I was raised. However my IC is in Pisces, while Pisces isn’t the same as the planet, and many astrologers believe Neptune is not the ruling planet of Pisces - it is a sign known for illusions, confusion, and vagueness much like Neptune. I came from a place of a lot of secretiveness and vagueness, but when the “planet of illusions” crossed over I found myself accepting the instability and moments I felt lost or clueless in my life as well as looking back with remembering and understanding. 

Neptune can represent the part of us that is hard to grasp and understand, it also faces us with the idea that it is okay to have unanswered questions, to not have closure, that many times we have to create that closure or solidity ourselves. Neptune much like Jupiter is a matter of faith whether in ourselves or a higher power. 

It should be noted Neptune doesn’t always mean outside sources. Neptune is an introverted, intimate actor. It can represent how we lie to ourselves, trick ourselves, or how we push responsibility off of ourselves. Neptune also allows us to see, understand, more importantly feel what we easily ignore or can’t see. 

Life’s Extremes - Our Extremes 

“Neptune moves between the greatest extremes: from the highest spiritual awareness through imagination, fantasy, and illusion, to the depths of deceptions and disillusionment. The planet of mysticism, glamour, and enchantment, Neptune exerts a hypotonic fascination.” - Judy Hall. 

When many think of extremes they probably think Pluto before Neptune. The blue sphere isn’t going to take away the icy orb’s reputation - Pluto holds tightly in terms of extremes, but Neptune is far from a level-headed, consistent influence. Let’s touch on fantasy and illusion - two things that tends to warn of foolishness or impracticality, but fantasy is part of everyone’s life, no matter how pragmatic or mature an individual claims to be. From coping to manifesting to understanding to enjoying, fantasy is a natural human thing. Think of how often you daydream in an hour, how many books, movies, and games you indulge in, how often you find yourself being tempted by gossip, and how often you find yourself painting a picture of another in your head - negative or positive. 

Neptune symbolizes the abstract, importance, and rawness of our fantasies. Individuals with prominent Neptune aspects can find themselves easily tapping into their imagination, falling into escapism frequently, or have a great use for their wild ideas. If you think of the subject of fantasies or illusion as an extreme - it makes sense. You aren’t going to get an interesting story without the gods and monsters. Our sleeping dreams often are filled with strangeness or strong emotions. Clarity to madness, hopeless romantic highs to deeply wounded sorrows, and dissolving/surrendering to becoming whole/complete are common extremes this planet centers around. 

I have Mercury Square Neptune which tends to make one doubtful of their own opinions and intellect, can increase misunderstandings, and make communication difficult for the individual. Mercury Square Neptune can make someone highly persuasive and deceptive but it can also make one easily confused, tricked, and manipulated by others. Rationality and intuition can conflict. One experience I have with this aspect is usually swinging from extremes to being very withdrawn and quiet to interrupting others, chatting away. I’ve been described by those in my life as always saying something they didn’t expect - few words but impactful or strange ones. This is an example of the more everyday way Neptune can present itself.

“Neptune-attuned people possess glamour in the old sense of the word: the ability to bewitch. They are also impossible to categorize or pin down, demonstrating the planet’s elusive quality. Lacking strong boundaries, Neptune-attuned people are susceptible to outside influences.” - Judy Hall. It is from these lack of boundaries and fluidness we see Neptune’s extremeness. Neptune aspects can have us take on the traits of others and there is intensity in that. Let’s say we are talking about a Neptune to Mercury aspect, here may be someone who is easily energized or put down by the mood of another. Neptune to Mars can create a volatile person who fights, guards, and pursues based on their inner circle. 

Alice: Imagination and Dreams 

Personally I tend to associate Alice in Wonderland with Gemini themes. But I’ve seen her used as a metaphor for many placements and influences, such as Scorpio and Pluto. Neptune’s lostness certainly relates to the character and story. Neptune can be the planet of dreams. Challenging aspects to Saturn indicates someone who struggles to get in touch with reality while easy aspects to Saturn indicates someone who can marry big dreams or imagination to practicality. 

Neptune to Moon aspects can indicate powerful dreaming - almost intuitive or helpful in processing stress or trauma. So does Neptune in the 12th, 4th, 8th, and possibly 9th. Neptune in the 2nd can mean imagination or even dreams themselves act as a resource, maybe this is through inspiration or increasing one’s belief or confidence. Neptune in the 3rd may find themselves always remembering their dreams and keeping a journal. Neptune in the 5th blessed with all of the fun dreams of flying or dreaming of a favorite fictional character. Neptune in the 6th or 10th may find strikes of inspiration, knowledge, problem solving, or important foresight in their sleep. Neptune in the 11th may find comfort or realize important information about self and/or society in their dreams. 

Neptune is a newer planet, many times called the visionary, healer, or spiritual link or messenger. Traditional astrologers can approach the planet with a lot of skepticism. Its exaltation is in creative Leo, detriment in practical Virgo, and fall in usually praised as “visionary” Aquarius. Neptune is still new enough to be a hot topic of debate. You will find many astrologers don’t even agree on the planet’s exaltation, fall, and detriment. Leo is considered one of the most creative sign and on the topic of imagination and dreams Neptune can feel amazing in this sign. It feels confident and shinning in its ideas, fantasies, and magic. Elusive and ever-changing Neptune doesn’t feel comfortable in stable and structured Virgo. But Aquarius is an unexpected challenge for Neptune. Aquarius is about collective action - unity that Neptune also is familiar with. But Aquarius is a cold sign and despite its unconventional side can be highly practical and may dislike unrealistic ideas or approaches. Saturn is Aquarius’s co-ruler after all. Neptune wants oneness as in intimacy, not oneness in action or rebellion like Aquarius. Neptune is the magical moonlit spring to heal all your wounds, especially the emotional and spiritual kind. Aquarius is the soul forge in Asgard from Thor: The Dark World or the hypospray in Star Trek. Aquarius is modern medicine most of the time and when Neptune is dressed in Aquarius’s colors at its best it is advanced medicine we don’t understand yet but are working towards. Neptune in Aquarius can be a genius, but it is about ambitious realism to help others, Neptune at its heart is about helping the individual on the most personal level. Aquarius is random strikes of lightning coming from an active mind while Neptune flows from one spot to another, always connected and coming from an original primal, emotional place. Aquarius is the future, Neptune is outside of time. Aquarius is intellect and Neptune emotions and intuition. Aquarius is rebellion, riot, revolution, Neptune is peace or death and rebirth - Aquarius is the noise and Neptune the silence. 

Some believe Neptune’s fall is in Capricorn, which the struggles exist with Capricorn’s strictness and clinging to reality and control. Neptune in Leo is Alice looking regal like a queen or warrior going to fight the jabberwock, Neptune in Virgo can get dark, feeling uncomfortable and maybe in pain, but still important and empowering. Alice in Aquarius or Capricorn is likely a totally new story, adult Alice putting away the tea parties and white rabbits for a lab coat or pantsuit. 

What about Healing and the Spiritual? 

Let’s get to what Neptune may be most known for. That otherworldly connection, the power of love, transcendence. Neptune is dramatic and it is soothing. Neptune embraces all aspects of the human experience so we can focus more on the soul. Neptune is all about healing and how healing can come in a million ways. It can be fast and hard or slow and revealing. It is painful and messy, it goes in cycles, loops, falls and rises. 

Neptune whether the aspects are easy or challenging, whether in a house focused on the self or others, it gives everyone ways to heal and to connect. As an outer planet it gives a lot of insight into generations but in the unique placement of one’s chart it touches us with humanity. 

Pretty speeches, enchanting metaphors, crazy nights, and charming lovers lead us to our doom and a raw poem, crying ourselves to sleep, old medicine, late night graveyard walks, and maybe a rebound help us pick up the pieces. Neptune many times shows us that the unexpected is what tears us down and what lifts us back up. It teaches us nothing is inherently bad like substances, manipulation, honesty, authority, it is how it is used. Neptune shows us that you are the hero to some and the villain to others. 

Regret, shame, guilt, feeling trapped, isolation, addiction, grief, and sorrow are closely linked to Neptune. I believe many times this is due to the healing process or spiritual associations of the planet. These emotions are heavy and life-changing but they are emotions that many times need to be faced with a lot of bravery and work. They are feelings that also help us come to realizations. Neptune is associated with rebirth and if you examine emotions like regret or shame, sometimes rebirth is the only way you can shed those feelings. Neptune’s fluid nature also allows us acceptance, which is needed to deal with such heavy emotions. 

While we always talk about the lack of boundaries as a dangerous or bad thing... and it can be, these lack of boundaries like I mentioned above can allow for a very giving love and empathy, it also allows us to feel or interact with a higher power, magic, and the spiritual. Whatever your beat is - religion, magic, or the belief we are just star stuff, Neptune symbolizes our relationship with it. 

[celepeace]

A monster-taming game recommendation list for fans of Pokemon

Whether you're a pokemon fanatic obsessed with all things pokemon past and present, or a veteran fan disillusioned with GameFreak's recent adoption of monetary philosophies and strategies reminiscent of other major game publishers, or looking for a monster-taming fix as you await new Pokemon content...

I'm compiling here a post of little-known games in the genre that Pokemon fans are likely to enjoy!

Under readmore cause long, but some of these games really don’t get the attention they deserve, so if you have the time, please read!

(I am also likely to keep updating and editing this post)

First up is Temtem!

Temtem is a game made by and for Pokemon fans, from the spanish indie developer Crema. Temtem is currently in early access on Steam and PS5, and is likely to remain in early access until sometime late next year. Full launch will include a Nintendo Switch release, too. Despite this, it has plenty of content to explore before full release. The developers are active, release new content on a semi-regular basis, and are responsive to the community as a whole and individuals if you happen to come across a bug you want to report.

Temtem boasts a wide variety of monsters to collect and train. It takes place in the Airborne Archipelago, a system of floating islands that orbit their star, the Pansun. The monsters inhabiting the archipelago are called Temtem, or tem(s), for short.

As far as game mechanics go, it has many similarities to Pokemon, but also many important distinctions. The biggest one, in my opinion, is that the element of chance has been removed from battle entirely. Moves cannot miss, have the same power constantly, and status afflictions have an obviously displayed countdown to when they will wear off (for instance, sleep lasts as long as it says it will last. Not 2-4 turns). PP does not exist, either. Your tems can battle for as long as their HP holds out. In place of PP, a new system called Stamina exists. Stamina is an individual stat, like HP and Attack. Each move costs a certain amount of stamina. If you go over the amount of stamina your tem has, the deficit is detracted from your health instead, and that tem cannot move next turn. Stamina passively regenerates a certain amount each turn, and items and moves exist that can heal stamina. All battles are also double-battles, you and your opponent will typically have two tems on the field at a time. This is just a few of the differences Temtem has from Pokemon, but they're some of the biggest ones.

Temtem is also a massively multiplayer game. You complete the storyline independently (or with a friend through co-op!), but in the overworld you can see other, real players moving around and interacting with the world. There is also public and area-specific chat you can talk to other players through. Despite this, all multiplayer functions are (currently) completely optional. You do not need to interact with others to complete the game.

Overall, Temtem is suitable for the Pokemon fan who is looking for a more challenging experience. Temtem is not a walk in the park you can blaze through with a single super-strong monster. For one, individual tem strength is more well-balanced than it is in Pokemon. There are very few (if any!) completely useless tems. Even some unevolved tems have their niche in the competitive scene! Aside from that, enemy tamers are scaled quite high, and you typically cannot beat them just from the exp you get from other enemy tamers. You have to do some wild-encounter grinding if you want to progress.

Temtem is a very fun game and I've already gotten over 100 hours out of it, despite only 3/5-ish of the planned content being released!

However, I do feel obligated to warn any prospective players of one thing: the current endgame is quite inaccessible. After you complete what is currently implemented of the main storyline, there is still quite a lot left to explore and do, but much of it is locked behind putting a lot of hours into the game. You kind of have to get perfect temtem to do the current PVE (and this is also somewhat true for the PVP too). By perfect I mean you have to breed a good tem and then train it to get the preferable EVs (called TVs in temtem). This takes... well, for a whole team... tens of hours. Of boring grinding. Some people enjoy it! But I don't. Regardless, the game was still worth buying because the non-endgame content is expansive and fun.

So overall, pros & cons:

Pros

Battle system is more friendly towards a competitive scene

Cute monsters

Lots of gay characters, also you can choose pronouns (including they/them) independently from body type and voice

Less difference between the objectively bad tems and good tems than there is in Pokemon

Lots of stuff to do even in early access

Most conversations with dialog choices have the option to be a complete ass for no reason other than it’s fun

Having less type variety in your team is less punishing than in Pokemon due to the synergy system and types overall having less weaknesses and resistances

At least one major character is nonbinary

Cons

Falls prey to the issue of MMOs having in-game economies that are only accessible to diehard no-life players

Related to the above point, cosmetics are prohibitively expensive

Endgame CURRENTLY is inaccessible to most players unless you buy good monsters from other players or spend tens of hours making your own. However I must add that the grind is great if you like that kind of thing and is quite easy and painless to do while watching a show or something.

Here is their Steam page and here is their official website.

Next is Monster Hunter: Stories!

This is a spinoff game of the Monster Hunter franchise released for the 3DS in 2018. If you're anything like me, and you've played the core Monster Hunter games, you've often thought "Man, I wish I could befriend and ride these cool dragon creatures instead of killing or maiming them!"

Well now you can! In Stories, as I will be calling it, you play as a rider rather than a hunter. Riders steal monster eggs from wild nests to raise them among humans as companions and guardians. And yes, egg stealing is a whole mechanic in of itself in this game.

This game works pretty differently from most monster-collecting games. You do battle (usually) against one or two wild monsters using your own, except you fight alongside your monsters too. With swords and stuff. There's armor and weapons you can smelt to make yourself stronger. Type match-ups also kind of don't exist in this game? Except they do? But not in a way you'd expect?

The vast majority of attacking moves you and your monster use fall into categories reminiscent of rock-paper-scissors. Moves can be categorized as power, speed, or technical. Speed beats power, technical beats speed, and power beats technical. The matchup of your move vs your opponent's determines how a turn will go down. If one move beats the other in matchup, then the winner's move will get to go and the loser doesn't get to do anything. If you tie, you both get hit, but for reduced damage. There's also abilities and basic attacks, with abilities basically being the same as pokemon moves, and basic attacks just being "I hit you for normal damage within this category". Also, you don't control what your monster does all the time in battle. You can tell it to use abilities, but what kind basic attacks it carries out is determined by its species' preference. Velicidrome, for instance, prefers speed attacks, but Yian Garuga prefers technical. Stamina also exists in this game in a very similar manner to Temtem.

Overall this game carries over a lot of mechanics Monster Hunter fans will find familiar (how items and statuses work for instance). You don't have to have played a core Monster Hunter game to enjoy Stories though! It's fine and is easy to understand as a stand-alone.

The story has some likable characters and is rather long (it was actually adapted into an anime!), for those of you who enjoy a good story.

I'd really recommend this one especially. If it sounds fun to you and you can drop $30, just do it. I bought it on a whim and I got a few weeks' worth of playing almost nonstop out of it, and I didn't even get to do everything! (I got distracted by Hades, oops)

Stories is also getting a sequel later next year on the nintendo switch! How exciting!

And yes, you do ride the monsters.

Pros & cons:

Pros

Large variety of cool monsters to befriend and raise

Pretty lengthy story

Every tamable monster is also rideable

Deceptively simple combat mechanics, easy to be okay at, hard to master

Incorporates some mechanics from early turn-based party rpgs like Final Fantasy for a nice twist on the monster collecting genre

Cons

Many monsters are objectively outclassed by other ones, making what can be in an actually good team more limited than you’d expect

3DS graphics inherently means the game looks like it was made 7 years before its time

Here is the Monster Hunter Stories official 3DS product page.

And here is Monster Sanctuary!

Monster sanctuary is a game that just had its 1.0 launch- meaning it was in early access and no longer is! Although the devs say they still plan to implement a few more things into the game in future updates. It is available on Steam, Nintendo Switch, Xbox One, and PS4.

Monster sanctuary is a metroidvania twist on the typical monster collecting game, meaning it is also a sidescrolling platformer in which you use abilities you gain throughout the game to explore the world around you. The abilities in this case are the monsters you get! Every monster has an ability that helps you traverse the sanctuary.

Speaking of the sanctuary, the game is set in one. The monster sanctuary is a magically shielded area, cut off from the rest of the world, created by an order of monster keepers, people who befriend and protect the mystical monsters inhabiting the world. Humankind encroached too far on the natural habitat of monsters and were hostile to the native wildlife, so the keepers created an area of varied environments to safely protect and preserve the remaining monsters of the world.

Unlike many other monster collecting games, this game only has 5 types: fire, water, earth, air, and neutral. However, the types themselves do not possess resistances and weaknesses. Instead, each monster has its own assigned weaknesses and resistances. And yes, this can include things like debuffs, physical vs special attacks, and the typical elemental types.

All battles are also 3 vs 3! And unlike in pokemon, where you can only hit the enemies nearest, all monsters have the ability to hit any opponent they want. Turns also work a little differently in that speed doesn't exist, you just use 1 move per monster in your turn and then it goes to your opponent's turn. Your monsters hit in whatever order you want them to.

There is also a quite important combo system in this game, where every hit builds a damage multiplier for the next. Moves often hit multiple times per turn. Healing and buffing actions also build this combo counter. So what monsters you have move in what order really counts!

But the main mechanical difference between this and other games in the genre is how it handles levels and skills. Instead of learning a set move at a certain level, this game incorporates a skill tree, and you get to allocate points into different skills as you grow stronger. And jeez, these skill trees are really extensive. Monster sanctuary is a theorycrafter's dream. Each monster has a unique, specially tailored skill tree, making every monster truly able to have its own niche. You can make use of whatever monster you want if you just put thought into it!

And like Temtem, this game is not made to be beatable by children. I'm sure a child could beat it, but it's not made to be inherently child-friendly like pokemon. It's honestly quite difficult.

On top of that, you are actively encouraged to not just be scraping by each battle. Your performance in battle is rated by an automated system that scores your usage of various mechanics like buffs and debuffs applied, type matchups, and effective usage of combos. The rating system directly influences the rewards you get from each battle, including your likelihood of obtaining an egg from one of the wild monsters you battled (no, you don't catch wild monsters in this game, you get eggs and hatch them). If you're not paying attention to how the game works and making good, effective use of your monsters, you'll have a hard time expanding your team!

The music is also really good, it's made by nature to be able to play over and over and not get old as you explore each area, and the composer(s) really did a good job with this. Some area songs, namely the beach one, I especially enjoy, so much so I've actually played it in the background while I do work.

This is a game I would really recommend. If I made it sound intimidating, it is by no means unbeatable, you're just gonna have to put some thought into how you play. At no point did I actually feel frustrated or like something was impossible. When I hit a wall, I was able to recognize what I did wrong and how I could improve, or I could at least realize something wasn't working and experiment until I found a solution. It's challenging in a genuinely fun, rewarding way.

Pros & cons:

Pros

Extremely in-depth combat system

I genuinely don’t know if there’s an objectively bad monster in this game

Evolution exists but is completely optional, as even un-evolved monsters can be great

Entire soundtrack is full of bangers

Large and diverse variety of monsters to tame

Cons

Story is a little lackluster, but passable

That’s the only con I can think of

Here’s a link to their Steam page and the game’s website.

A kind of unorthodox recommendation is the Pokemon Mystery Dungeon series!

Likelihood is that everyone reading this has heard of this series already, but just in case anyone hasn't, I thought I'd include it! I would categorize this as a hybrid between the mystery dungeon genre and the monster collecting genre, because you recruit pokemon as you play and can use those pokemon on your team!

If you're unaware, the mystery dungeon genre is a small subset of dungeon crawler games where you progress through randomly generated levels called mystery dungeons. Throughout the dungeons, there will be enemies to fight and items to collect. The challenge of these games is mostly due to the stamina aspect of them, in that you have to manage your resources as you progress through the level. If you go all out in each fight, you will inevitably lose quite quickly. You have to learn to win against enemies while balancing your use of items and PP, so you have enough for the next fight, and the fight after that.

Pokemon mystery dungeon in particular is famous for its stories, the likes of which isn't seen often in Pokemon games. They are hugely story-driven games and are notable for the emotional depth they possess. It's pretty normal for the average player to cry at least once in the span of the game. There's lots of memes about that specifically.

This entry in my list is also unique for being a series. So, which one should you play first? It actually doesn't matter! Each storyline is entirely self-contained and requires no knowledge of prior entries. The quality of each entry varies and is a point of contention among fans. I say you should play all of them, because they all have their merits (though some more than others.... coughgatestoinfinitycough). They're mostly distinct for the generation of Pokemon they take place in. Rescue team is gen 3, Explorers is gen 4, Gates to Infinity is gen 5, Super Mystery Dungeon is gen 6, and Rescue Team DX is a remake of a gen 3 game but has the mechanics and moves of a gen 8 game.

My only real caution is that you play Explorers of Sky, not Darkness or Time. Sky is basically a combination of the two games with added items and content. It's an objective upgrade over its predecessors, and I honestly wouldn't waste money on the other two. 

I’m not going to include a pros and cons list for the PMD series because I’m incredibly biased and it wouldn’t be an honest review.

Next is Monster Crown!

Monster Crown is a monster collecting game that seems to take heavy inspiration from early-gen Pokemon games in particular. It is currently in early access on Steam and is not expensive. I learned about it through the developers of Monster Sanctuary, when they recommended it on their official Discord.

The game has lots of charm and interesting creature designs, and an entirely new take on monster typings as well. Instead of monster types being based off of natural elements like fire, water, electricity, etc. Monster Crown uses typings that seem to be influenced by the personalities of the monsters. For instance, Brutal, Relentless, and Will are all monster types!

It also captures a lot of the charm many of us look fondly upon in early GameBoy-era games. The music is mostly chiptune, with some more modern backing instruments at times, and the visuals are very reminiscent of games like Pokemon Crystal in particular. Monster Crown is definitely the monster collecting game for fans of the 8-bit era!

The thing that stands out the most to me about this game is the breeding system. Instead of one parent monster passing down its species to its offspring, you can create true hybrids in this game.

However, it is very early access. I would consider the current build as an alpha, not even a beta yet! So temper your expectations here. I have not encountered any major bugs, but visual glitches here and there are quite common. The game also could definitely use some polish and streamlining, and is quite limited in content currently. But the dev(s) seem quite active, so I fully expect these kinks to be worked out in time!

The reviews are rather positive, especially for being in early access. I'm all for expanding the monster collecting genre, so if you're looking to expand your horizons in that sense, I would recommend you at least give this one a look! I personally had quite a bit of fun playing Monster Crown and am going to keep an eye out for updates.

Pros & cons:

Pros

Charming artstyle, appealing monster designs

Faithful callback to a bygone era of gaming

Controls are fairly simple and easy to get the hang of (and are completely customizable!)

Cool breeding and hybridization mechanics

There's a starter for each monster type!

You can choose your pronouns, including they/them!

Cons

Inherent nature of being very early access means can be clunky and unpolished at times

Also not much content as of right now, see above

User interface could use some redesign in places

Here’s their Steam page and the official website!

Here’s an oldie but a goodie, Azure Dreams!

This is one I actually haven’t played, mostly because it’s really old and therefore only practically accessible if you play it on an emulator, unless you're one of those old game collectors. Azure Dreams was developed by Konami and released for the PS1 in 1997. My impression of it was that it either didn’t sell well or only took off in Japan, because it’s actually really hard to find any comprehensive information about it on the internet.

Azure Dreams is a monster collecting - dating sim hybrid. You can build relationships with various characters and can pursue some of them romantically, although that isn’t the main draw of the game. There is also a stripped-down version that exists for the GameBoy Color, which forgoes the dating portion of the game entirely.

Azure Dreams is kind of like a mystery dungeon game in that you progress through a randomly generated, ever-changing tower using the help of the familiars you have accrued throughout your adventure. Similarly to Monster Hunter: Stories, you yourself also take part in the fighting alongside your monsters. Each time you enter the tower, your character’s level is lowered to 1, but your familiars keep their experience. Thus, progression is made through strengthening your monsters. To obtain monsters, you collect their eggs, just like in Monster Sanctuary (which, turns out, was at least partially inspired by this game!)

Due to this game being very old and on the PS1, the visuals leave a lot to be desired... but if you can get past that, Azure Dreams has lots of replayability and customization to how you play the game. To this day, it appears it has a somewhat active speedrunning community!

If you don’t mind the effort of using an emulator, and like old games, Azure Dreams just might be that timesink you were looking for in quarantine.

Honorable mentions:

Pokemon Insurgence (or any Pokemon fangame/ROMhack, really!) is a Pokemon fangame that introduces Delta Pokemon, which are really cool type-swapped versions of existing Pokemon. It’s sufficiently challenging and has a lot of variety in what you can catch in the wild, so you can pretty much add whatever you want to your team! The story is quite good, and the main campaign is multiple times longer than a typical Pokemon game’s campaign. Download it here!

ARK: Survival Evolved is NOT a monster collecting game BUT you do get to tame and fight alongside a lot of really cool extinct species, including but not limited to the dinosaurs we all know and love. This game is genuinely fun as hell, especially with friends, but I must warn you: never play on official servers. I highly recommend singleplayer, playing on a casual private server, or making your own server. Here’s the Steam page.

[wolfstar-in-color]

July Colorful Column: Remus is a Crip, and We Can Write Him Better.

There is one thing that can get me to close a fic so voraciously I don’t even make sure I’m not closing other essential tabs in the process. It doesn’t matter how much I’m loving the fic, how well written I think it is, or how desperately I want to know how it ends. Once I read this sentence, I am done.

It’s written in a variety of different ways, but it always goes something like this: “You don’t want me,” Remus said, “I am too sick/broken/poor/old/[insert chosen self-demeaning adjective here].”

You’re familiar with the trope. The trope is canonical. And if you’ve been around the wolfstar fandom for longer than a few minutes, you’ve read the trope. Maybe you love the trope! Maybe you’ve written the trope! Maybe you’re about to stop reading this column, because the trope rings true to you and you feel a little attacked!

Now, let’s get one thing out of the way right now: I am not saying the trope is wrong. I am not saying it’s bad. I am not saying we should stop writing it. We all have things we don’t like to see in our chosen fics. Maybe you can’t stand Leather Jacket Motorbike Sirius? Maybe you think Elbow Patch Remus is overdone? Or maybe your pet peeves are based in something a little deeper - maybe you think Poor Latino Remus is an irresponsible depiction, or that PWPs are too reductive? Whatever it is, we all have our things.

Let me tell you about my thing. When I first became very ill several years ago, there were various low points in which I felt I had become inherently unlovable. This is, more or less, a normal reaction. When your body stops doing things it used to be able to do - or starts doing things you were quite alright without, thank you very much - it changes the way you relate to your body. You don’t want to hear my whole disability history, so yada yada yada, most people eventually come to accept their limitations. It’s a very painful existence, one in which you constantly tell yourself your disability has transformed you into a burdensome, unworthy member of society, and if nothing else, it’s not terribly sustainable. Being disabled takes grit! It takes power! It takes a truly absurd amount of medical self-advocacy! Hating yourself? Thinking yourself unworthy of love? No one has time for that. 

Of course, I’m being hyperbolic. Plenty of disabled people struggle with these feelings many years into their disabilities, and never really get over them. But here’s the thing. We experience those stories ALL THE TIME. Remember Rain Man? Or Million Dollar Baby? Or that one with the actress from Game of Thrones and that British actor who seemed like he was going to have a promising career but then didn't? Those are all stories about sad, bitter disabled people and their sad, bitter lives, two out of three of which end in the character completing suicide because they simply couldn’t imagine having to live as a disabled person. (I mean, come on media, I get that we're less likely to enjoy a leisurely Saturday hike, but our parking is SUBLIME.) When was the last time you engaged with media that depicted a happy disabled person? A complex disabled person? A disabled person who has sex? No really, these aren’t hypothetical questions, can you please drop a rec in the notes?? Because I am desperate.

There are lots of problems with this trope, and they’ve been discussed ad nauseam by people with PhDs. I’m not actually interested in talking about how this trope leads to a more prevalent societal idea that disabled people are unworthy of love, or contributes to the kind of political thought processes that keep disabled people purposefully disenfranchised. I’m just a bitch on Tumblr, and I have a bone to pick: the thing I really hate about the trope? It’s boring. I’m bored. You know how, like, halfway through Grey’s Anatomy you realized they were just recycling the same plot points over and over again and there was just no WAY anyone working at a hospital prone to THAT MANY disasters would stay on staff? It's like that. I love a recycled trope as much as the next person (There Was Only One Bed, anyone?). But I need. Something. Else.

Remus is disabled. BOLD claim. WILD speculation. Except, not really. You simply - no matter how you flip it, slice it, puree it, or deconstruct it - cannot tell me Remus Lupin is not disabled. Most of us, by this point, are probably familiar with the way that One Canonical Author intended One Dashing Werewolf to be “a metaphor for those illnesses that carry stigma, like HIV and AIDS” [I’m sorry to link you to an outside source quoting She Who Must Not Be Named, but we’re professionals here]. Which is... a thing. It’s been discussed. And, listen, there’s no denying that this parallel is a problematic interpretation of people who have HIV/AIDS and all such similar “those illnesses” (though I’ll admit that I, too, am perennially apt to turn into a raging beast liable to harm anything that crosses my path, but that’s more linked to the at-least-once-monthly recollection that One Day At A Time got cancelled). Critiques aside, Remus Lupin is a character who - due to a condition that affects him physically, mentally, emotionally, and intellectually - is repeatedly marginalized, oppressed, denied political and social power, and ostracized due to unfounded fear that he is infectious to others. Does that sound familiar?

We’re not going to argue about whether or not “Remus is canonically disabled as fuck” is a fair reading. And the reason we’re not going to argue about whether or not it’s a fair reading is because I haven’t read canon in 10-plus years and you will win the argument. Canon is only marginally relevant here. The icon of this blog is brown, curly haired Remus Lupin kissing his trans boyfriend, Sirius Black. We are obviously not too terribly invested in canon. The wolfstar fandom is now a community with over 25,000 AO3 fics, entire careers launched from drawing or writing or cosplaying this non-canonical pairing. We love to play around here with storylines and universes and races and genders and sexualities and all kinds of things, but most of the time? Remus is still disabled. He’s disabled as a werewolf in canon-compliant works, he’s disabled in the AUs where he was injured or abused or kidnapped or harmed as a child, he’s disabled in the stories that read him as chronically ill or bipolar or traumatized or blind or Deaf. I’d go so far as to say that he is one of very few characters in the Wide Wonderful World of media who is, in as close to his essence as one can be, always disabled. And that means? Don’t shoot the messenger... but we could stand to be a tiny bit more responsible with how we portray him. 

Disabled people are complicated. As much as I’d like to pretend we are always level-headed, confident, and ready to assert our inherent worth, we are still just humans. We have bad days. We doubt our worth. We sometimes go out with guys who complain about our steroid-induced weight gain (it was a long time ago, Tumblr, okay??). But, we also have joy and fun and good days and sex and happiness and families and so many other things. 

Remus is a disabled character, and as such, it’s only fair that he’d have those unworthy moments. But - I propose - Remus is also a crip. What is a crip? A crip - like a queer - is someone who eschews the limited boundaries placed on their bodies, who rejects a hierarchy of oppression in favor of an intersectional analysis of lived experience, who isn’t interested in being the tragic figure responsible for helping people with dominant identities realize how good they have it. Crips interpret their disabilities however they want, rethinking bodies and medicine and pleasure and pain and even time itself. Crips are political, community-minded, and in search of liberation. 

Remus is a character who struggles with his disability, sure. But he’s also a character who leverages his physical condition to attempt to shift communities towards his political leanings, advocates for the rights of those who share his physical condition, and has super hot sex with his wrongfully convicted boyfriend ultimately goes on to build community and family. Having a condition that quite literally cripples you, over which you have no control, and through which you are often read as a social pariah? That’s disability. But using said condition as a means through which to build advocacy and community? Now that’s some crip shit. 

Personally, I love disabled!Remus Lupin. But I love crip!Remus Lupin even more. I’d love to see more of a Remus who owns his disability, who covets what makes him unique, and who never ever again tells a potential romantic partner they are too good for him because of his disability. This trope - unlike There Was Only One Bed! - sometimes actually hurts to read. Where’s Remus who thinks a potential romantic partner isn’t good enough for him? Where’s Remus who insists his partners learn more about his condition in order to treat him properly? Where’s sexy wheelchair user Remus? Where’s Remus who uses his werewolf transformations as an excuse to travel the world? Where’s crip Remus??

We don’t have to put “you don’t want me” Remus entirely to bed. It is but one of many repeated tropes that are - in the words of The Hot Priest from Fleabag - morally a bit dubious. And let’s face it - we don’t always come to fandom for its moral superiority (as much as we sometimes like to think we do). 

This is not a condemnation - it is an invitation. Able-bodied folks are all but an injury, illness, or couple decades away from being disabled. And when you get here, I sincerely hope you don’t waste your time on “you don’t want me”ing back and forth with the people you love. I’m inviting you to come to the crip side now. We have snacks, and without all the “you don’t want me” talk, we get to the juicy parts much faster. 

Colorfully,

Mod Theo

[ravysu]

Sannin headcanons and thoughts

The last thing I would like to post for the sannin week. It is still 24.04 here! :D @sannin-central

This is long. Spoiler alert. Mostly Orochimaru, some Tsunade, a little of Jiraiya (because his story is pretty clear and spoken and idk what I can add). Also I recommend to read this meta about Orochimaru, it has influenced me a lot and has some good points. Sorry for any posible grammar mistakes. Also I really should put here a lot of references to the manga or anime but it was something that was piling up for a year and I'm soooooooo lazy. After all, those are just headcanons. Also: Im not excusing Oro's bad stuff here, Im trying to understand the reasons.

Ive already posted some hcs, here, here and here.

1. First if all, the chronology pic of sannin lifetime based on the info i found on naruto wiki and also some statements about wars from this post. It was tough considering what a mess naruto’s chronology is.

2. Sannin story shows what it cost to be a legend. They're like Team 7 but more realistic. Tsunade literally carried the war but left with nothing and developed a ptsd and have problems to just live on. Also anger control issues. I think she can be pretty bossy and stubborn which is not always nice. Jiraiya is the hero of the day but also very idealistic and can ignore some important details in the real word whether its the fight (he always injured during flashbacks maybe because each time he took too much to handle and on the one hand it's heroistic but on the other is a mistake that can lead your team to situations like in that Iwa cave) or your friends issues (I bet he saw what's going on but thought it's fine until Oro actually got red handed and left). He lives in his world and may have problems to get out to see it through someone else's shoes. As for Orochimaru, it seems like he was a normal guy for 20+ years (I mean, he didn't do crazy criminal shit and had something good in him and it was stated somewhere that it was his teammates influence. It is obvious they considered him as a friend, I don't thinks it was for nothing) but we mostly know his darkest side. Despite being a moster he is a human that have empathy and some ordinary human traits (man just decorates every bit of an environment he is in lol).

3. Tsunade was the leader of team Hiruzen.

4. Tsunade sometimes hit Jiraiya for some stupid things he did or said but never touches Orochimaru even if he did something same. Jiraiya complained about it once and almost got another hit.

5. Jiraiya had problematic parents that didn't care about him much and a lot of time he was wandering in the streets.

6. Judging by the look of Oro bangs and hair, he sometimes cut it off. A stress relief huh? And the fact that he doesn't do it now in Boruto..

7. It was shown that Tsunade and Orochimaru was acknowledged before they become a team. Maybe they did just before, or maybe some longer time before. I prefer the second option and hc that they met because both had no real friends - Orochimaru seemed weird and scary for everyone and Tsunade was Senju so everyone wanted to hang out with her but didn't really care. They weren't seen as what they were - people put the labels on them. But they didn't care about each other's labels and actually saw each other in true lights.

8. Tsunade knew it was an accident and it's not right but still she blamed Orochimaru for Nawaki's death for some time. It was something that seriously damaged their friendship and the team. Orochimaru was mad but also guilty, after all, he was responsible at least as a shinobi since Nawaki was under his watch. So he started to act cold and emotionless and was trying to distance himself from his teammates.

9. Jiraiya was in Ame while Dan died.

10. The whole his orphans mission was a bit irresponsible tbh. They already fought Hanzo and as he stated the conflict between Konoha and Ame is going to an end with Konoha's win. It's weird to stay here for three years in the middle of the war while there were other lands to fight. He left his teammates for some idea. Maybe that caused another crack in their team friendship.

11. If Tsunade would have find a way to live on with her trauma and follow the will of fire and stuff it would affect Orochimaru as well just as her grief affected him. It's like he would get an example that you can live on with this pain. So death isn't above human capability and we are not just the slaves of mortality (sounds stupid but i dont know how else to describe sorry). But as we know what he actually saw is that it broke her crucially to the point she couldnt be herself again. And so the death is above everything.

12. Oro wasn’t just acting as a cold pragmatic bitch in that cave but also tried to save Tsunade. Jiraiya knew it and that’s why he showed this sign to him like "I see what youre doing here" and that stunned Oro because he would prefer to look rather like a cold pragmatic bitch hehe

13. Just a thought. People in the village probably treated Oro as a foreigner or just wouldnt accept him because he looked so differently and had a weird attitude. That's why he sometimes didn't feel that Konoha is his home. After the wars where people were treated as means and tools, even the children, he himself developed this view on people - he dehumanized them and used as the means to his goals, just as his village did. Funny thing some people were straightly dehumanizing him too like Ibiki thought that he was a demon (tho he was a child). And he probably weren't the only one. Anyways the point is that it's logical that Orochimaru don't care about anybody but some few people, he's the product of his era. He's like Naruto that would chose the hatred way. But naruto had some good and understanding people around him and.. Orochimaru had them too, but match how Iruka treated Naruto and this Hiruzen's "I sAw tHe mAliCe in This cHiLd fRoM tHe BegGinNinG". And oro didn't even have a big ass evil fox in him. sry i hate hiruzen

ANYWAYS the moral of the story is not "go criminal if they hurt you" but always treat people like people. Waving my hand to Kant.

14. The reason why Orochimaru didn't pick some good morals to stick with through the hard times no matter what (like, idk, Jiraiya or Naruto) is because 1) I think he is/was pretty depending on people around him 2) the war fucked him and his friends up too much (Nawaki incident + Tsunade) 3) twisted addictions (though I don't think he's that sadistic, we never saw him torturing randoms just for fun, it was always some science experimental shit. He tends to get fun out of cruelty only when it's personal) that maybe developed as a way to sublimate anger and sadness caused by his parents loss (that's what they share with sasuke - unlicke naruto, they knew their parents and it's other kind of pain. Sasuke developed a revenge issue and Orochimaru - cruelty pleasure which... is kinda the same but less epic and more occasional lol).

15. Speaking of that, Orochimaru cared for Sasuke because he saw himself in him.

16. Oro hold grudges against Hiruzen for not choosing him to be Hokage not only because he was ambitious and/or egoistic, but also because Hiruzen was some kind of a father figure for him and his approval was important tho i doubt he was aware of that. He also probably could tell that Hiruzen was suspicios about him when he was a child and that led to many conflicts and was hurting as well.

17. Tsunade knew things weren't pretty with Orochimaru after the wars but she never expected them to be this bad. During the week that she was given in her arc she thought not only about how much she wants to see Nawaki and Dan again despite how wrong would it be but also was trying to bury all the good memories she had left of Orochimaru so it would be easier to kill him.

18. She poisoned Jiraiya exactly because she knew he would not let her do it. Jiraiya was always hesitant to kill and inclined to forgiveness, while Tsunade, as mentioned by Orochimaru, could be merciless (so much so that he was not surprised when Kabuto suggested that she wanted to use Jira for Edo Tensei).

19. That was one of her traits that scared Jiraiya and fascinated Orochimaru.

20. Remember how Oro grabbed Jiraiya's neck when the latter was trying to cover with hair jutsu? On the snake, in Tsnade's arc. Orochimaru could have easily kill Jiraiya by pulling the sword out of the mouth (arteries are right there) but he didn't. As well as he could kill Tsunade when she was still shaking - just aim for the neck or the heart. Instead, he just injured her lung and kicked her which is not a big deal for the kind of shinoby like her at all.. Also he helped Anko not accidentally kill herself but it would be way much profitable to let her do it. "Orochimaru has no feelings".

21. The reason he suddenly wanted to kill Tsunade instead of forcing her to heal his arms as it was planned (which is weird since it will not going to get him heals and he kinda said that he wouldn't want to kill her just minutes ago) is that not only she refused to help him (he thought he could work it out) but she also prefered the village over him (from his point of view). Out if everyone she was the closest to being able to understand him since the village caused her painful losses too but nevertheless she agreed to be on it's side.

22. He wasn't fighting her back in the end partly because he thought he deserved that. Somewhere deep inside hahah.

23. Tsunade got a fear to develop deep bonds so they probably weren't very close with Shizune (also the way she knocked her down in this hotel.. oh).

24. Orochimaru will be here when she'll die.

25. Orochimaru's eng dub to Tsunade: "I often wondered what it would be like to ring that pretty neck yours". No comments.

26. Orochimaru is either bi/pan or ace. Anything or nothing lmao

27. Hiruzen knew about at least some of the Oro’s illegal experiments and was okay just as he was okay with the Foundation all the time. Because it’s useful. Then he has discovered he went too far OR he knew everything and oro just became too inconvenient because of his methods. The way Orochimaru tells Sasuke about reasons they are well treated as the criminals is based on in his experience with Hiruzen.

28. As you may know the lyrics in Orochimaru’s music theme goes “don’t talk with the silence of the heart”. It was taken from one Indian song that also had lines like “don’t question life too much”, ”pain arose somewhere in the chest”, “don’t speak to the wounds of the heart”. Though I’m not sure 100% because I was translating it with some hindi dictionary with like zero knowledge of hindi

29. I like to think that this “silence of the heart” theme and the fact that he called his village a hidden sound village are somehow connected. The hidden sound is the possible explanation of all things waiting to be listened to but the truth is silent and you know it deep in your heart and it bothers you. The world is silent just like the life is meaningless but people can only hear. *Sigh* anyways

30. Orochimaru’s journey is the one about accepting death. When he saw Karin released her chains while was trying to get to Sasuke he understood that the death is a part of human’s strength.

Can’t wait to feel that everything I wrote is wrong or not enough or stupid and obvious lol. Anyways, it’s something that I wanted to share until I move to some other fandom.

[qqueenofhades]

Hi. You made a post a couple of days ago about how queer historical fiction doesnt need to be defined only by homophobia. Can you expand on that a bit maybe? Because it seems interesting and important, but I'm a little confused as to whether that is responsible to the past and showing how things have changed over time. Anyway this probably isn't very clear, but I hope its not insulting. Have a good day :)

Hiya. I assume you're referring to this post, yes? I think the main parameters of my argument were set out pretty clearly there, but sure, I'm happy to expand on it. Because I'm a little curious as to why you think that writing a queer narrative (especially a queer fictional narrative) that doesn't make much reference to or even incorporate explicit homophobia is (implicitly) not being "responsible to the past." I've certainly made several posts on this topic before, but as ever, my thoughts and research materials change over time. So, okay.

(Note: I am a professional historian with a PhD, a book contract for an academic monograph on medieval/early modern queer history, and soon-to-be-several peer-reviewed publications on medieval queer history. In other words, I'm not just talking out of my ass here.)

As I noted in that post, first of all, the growing emphasis on "accuracy" in historical fiction and historically based media is... a mixed bag. Not least because it only seems to be applied in the Game of Thrones fashion, where the only "accurate" history is that which is misogynistic, bloody, filthy, rampantly intolerant of competing beliefs, and has no room for women, people of color, sexual minorities, or anyone else who has become subject to hot-button social discourse today. (I wrote a critical post awhile ago about the Netflix show Cursed, ripping into it for even trying to pretend that a show based on the Arthurian legends was "historically accurate" and for doing so in the most simplistic and reductive way possible.) This says far more about our own ideas of the past, rather than what it was actually like, but oh boy will you get pushback if you try to question that basic premise. As other people have noted, you can mix up the archaeological/social/linguistic/cultural/material stuff all you like, but the instant you challenge the ingrained social ideas about The Bad Medieval Era, cue the screaming.

I've been a longtime ASOIAF fan, but I do genuinely deplore the effect that it (and the show, which was by far the worst offender) has had on popular culture and widespread perceptions of medieval history. When it comes to queer history specifically, we actually do not know that much, either positive or negative, about how ordinary medieval people regarded these individuals, proto-communities, and practices. Where we do have evidence that isn't just clerical moralists fulminating against sodomy (and trying to extrapolate a society-wide attitude toward homosexuality from those sources is exactly like reading extreme right-wing anti-gay preachers today and basing your conclusions about queer life in 2021 only on those), it is genuinely mixed and contradictory. See this discussion post I likewise wrote a while ago. Queerness, queer behavior, queer-behaving individuals have always existed in history, and labeling them "queer" is only an analytical conceit that represents their strangeness to us here in the 21st century, when these categories of exclusion and difference have been stringently constructed and applied, in a way that is very far from what supposedly "always" existed in the past.

Basically, we need to get rid of the idea that there was only one empirical and factual past, and that historians are "rewriting" or "changing" or "misrepresenting" it when they produce narratives that challenge hegemonic perspectives. This is why producing good historical analysis is a skill that takes genuine training (and why it's so undervalued in a late-capitalist society that would prefer you did anything but reflect on the past). As I also said in the post to which you refer, "homophobia" as a structural conceit can't exist prior to its invention as an analytical term, if we're treating queerness as some kind of modern aberration that can't be reliably talked about until "homosexual" gained currency in the late 19th century. If there's no pre-19th century "homosexuality," then ipso facto, there can be no pre-19th-century "homophobia" either. Which one is it? Spoiler alert: there are still both things, because people are people, but just as the behavior itself is complicated in the premodern past, so too is the reaction to it, and it is certainly not automatic rejection at all times.

Hence when it comes to fiction, queer authors have no responsibility (and in my case, certainly no desire) to uncritically replicate (demonstrably false!) narratives insisting that we were always miserable, oppressed, ostracised, murdered, or simply forgotten about in the premodern world. Queer characters, especially historical queer characters, do not have to constantly function as a political mouthpiece for us to claim that things are so much better today (true in some cases, not at all in the others) and that modernity "automatically" evolved to a more "enlightened" stance (definitely not true). As we have seen with the recent resurgence of fascism, authoritarianism, nationalism, and xenophobia around the world, along with the desperate battle by the right wing to re-litigate abortion, gay rights, etc., social attitudes do not form in a vacuum and do not just automatically become more progressive. They move backward, forward, and side to side, depending on the needs of the societies that produce them, and periods of instability, violence, sickness, and poverty lead to more regressive and hardline attitudes, as people act out of fear and insularity. It is a bad human habit that we have not been able to break over thousands of years, but "[social] things in the past were Bad but now have become Good" just... isn't true.

After all, nobody feels the need to constantly add subtextual disclaimers or "don't worry, I personally don't support this attitude/action" implied authorial notes in modern romances, despite the cornucopia of social problems we have today, and despite the complicated attitude of the modern world toward LGBTQ people. If an author's only reason for including "period typical homophobia" (and as we've discussed, there's no such thing before the 19th century) is that they think it should be there, that is an attitude that needs to be challenged and examined more closely. We are not obliged to only produce works that represent a downtrodden past, even if the end message is triumphal. It's the same way we got so tired of rape scenes being used to make a female character "stronger." Just because those things existed (and do exist!), doesn't mean you have to submit every single character to those humiliations in some twisted name of accuracy.

Yes, as I have always said, prejudices have existed throughout history, sometimes violently so. But that is not the whole story, and writing things that center only on the imagined or perceived oppression is not, at this point, accurate OR helpful. Once again, I note that this is specifically talking about fiction. If real-life queer people are writing about their own experiences, which are oftentimes complex, that's not a question of "representation," it's a question of factual memoir and personal history. You can't attack someone for being "problematic" when they are writing about their own lived experience, which is something a younger generation of queer people doesn't really seem to get. They also often don't realise how drastically things have changed even in my own lifetime, per the tags on my reblog about Brokeback Mountain, and especially in media/TV.

However, if you are writing fiction about queer people, especially pre-20th century queer people, and you feel like you have to make them miserable just to be "responsible to the past," I would kindly suggest that is not actually true at all, and feeds into a dangerous narrative that suggests everything "back then" was bad and now it's fine. There are more stories to tell than just suffering, queer characters do not have to exist solely as a corollary for (inaccurate) political/social commentary on the premodern past, and they can and should be depicted as living their lives relatively how they wanted to, despite the expected difficulties and roadblocks. That is just as accurate, if sometimes not more so, than "they suffered, the end," and it's something that we all need to be more willing to embrace.

[ailuronymy]

do you think every disabled character in wc is handled poorly? i understand theres def some cases of ableism but at the same time when i hear ppl say that its usually bc the disabled cat wasnt able to become a warrior due to their disability. and i feel like ppl forget, that not everyone irl CAN do what they want after they become disabled. ex. someone wants to be an athlete, but their legs have to be amputated. a cat like briarlight esp i feel is p realistic and could be a source of comfort

Hello there, thank you for writing in. I’m going to reply to this question with a series of questions I think are a bit more useful, given what you’re trying to ask me. I hope that’ll clarify what is a deeply complex, multilayered issue. 

Do I think Erin Hunter handles anything in the series “well”? Not really. I don’t have a high opinion of the work of the collective and, broadly speaking, I think every right note they play, metaphorically speaking, is an instance of chance rather than effort, skill, or intention. Stopped clocks are right twice a day, mediocre writers will sometimes do something cool by accident, similar principle. That’s not to say Erin Hunter hasn’t ever done anything on purpose--just that overall the underlying drive of the series isn’t so much quality as it is quantity, and speed of production, and it shows. 

Do I think Erin Hunter puts any significant research into how they portray disability? No. I do not think it is a priority for this series. They’re not trying to make a meaningful work of literature, or capture a realistic experience of disability, or tell especially impactful or thoughtful stories, or even make a particularly good or coherent fantasy world. Warriors is a specifically commercial product that was commissioned by HarperCollins to appeal to a particular demographic of drama-loving, cat-loving kids. It’s not really trying to do anything but sell books, because it’s a business, so the text in many ways reflects that. They’re not going for disability representation, in my opinion. They’re including disability in many cases as a plot-point or an obstacle. 

Do I think this means that people can’t connect to these characters and narratives in meaningful ways? No. Often I say that a work is completed only when it is read. Before that point, it doesn’t have a meaning: a reader finishes the work through the act of reading, and interpretation, and filling in the spaces and resonance of the story with their own values and experiences. When people talk about subjectivity, this is what they are talking about. What this means in the context of disabled characters in Warriors is that these characters and their stories can be multiple, conflicting, even mutually exclusive things at the same time, to different people, for different reasons. 

Do I think characters have to be “good” to be significant to someone? No. I think genuinely “bad” (i.e., not researched or poorly researched, cliche, thoughtlessly written, problematic, etc. etc.) characters can be deeply meaningful, and often are. Ditto above: for many people, and especially marginalised or stigmatised people, reading is almost always an act of translation, wherein the person is reading against the creative work of the dominant culture in a way that the author likely didn’t intend or didn’t even imagine. There’s a long documented history of this in queer culture, but it’s true for just about everyone who is rarely (or unfairly) represented in media. Disabled people often have to read deeply imperfect works of fiction featuring disability and reinterpret them in the process--whether to relate to a kind of disability they don’t experience themselves but which is the closest they’re offered to something familiar, or to turn positive and meaningful what is intended as narrative punishment, or simply to create what’s commonly called headcanon about “non-disabled” characters who echo their personal experiences. 

Do I think everyone has to agree? Extremely no. As I said before, people will actually always disagree, because all people have different needs and different experiences. What can be interpreted as empowering to one person might be very othering and painful for another. There is no “right” answer, because, again, that is how subjectivity works. This is especially true because marginalised communities are often many different kinds of people with different lives and needs brought together over a trait or traits they share due to the need for solidarity as protection and power--but only in a broad sense. It’s why there is often intracommunity fighting over representation: there isn’t enough, there’s only scraps, and so each person’s personal interpretation can feel threatening to people whose needs are different. You can see examples of this especially when it comes to arguments over character sexuality: a queer female character might be interpreted as bisexual by bisexual people who relate to her and want her to be, while being interpreted as lesbian by lesbians who also relate to her and want her to be like them. Who is correct? Often these different interpretations based on different needs are presented as if one interpretation is theft from the other, when in fact the situation is indicative of the huge dearth of options for queer people. It becomes increasingly more intense when it comes to “canon” representations, because of the long history of having to read against the grain I mentioned above: there’s novelty and, for some people, validation in “canon” certainty. And again, all of this is also true for disabled people and other stigmatised groups. 

Do I think this is a problem? Not exactly. It is what it is. It is the expected effect of the circumstances. Enforced scarcity creates both the need for community organising and solidarity and the oppressive pressure to prioritise one’s self first and leave everyone else in the dust (or else it might happen to you). The system will always pit suppressed people against each other constantly, because it actively benefits from intracommunity fighting. Who needs enemies when you have friends like these, and so on. A solution is absolutely for everyone in community to hold space for these different needs and values, and to uplift and support despite these differences, but it’s not anyone’s fault for feeling threatened or upset when you don’t have much and feel like the thing that you do have is being taken away. It’s a normal, if not really helpful, human response. But until people learn and internalised that the media is multifaceted and able to be many things at once, without any of those things being untrue or impacting your truth of the text, then there will be fighting. 

Do I think my opinion on disability on Warriors is all that important? No, not really. I can relate to some characters in some moment through that translation, but my opinion on, say, Jayfeather is nowhere near as worthy of consideration than that of someone who is blind. I don’t have that experience and it’s not something I can bring meaningful thinking about, really. That’s true for all these characters. If you want to learn about disability, prioritise reading work about disabled rights and activism that is done by disabled people, and literary criticism from disabled people. And as I mentioned above, remember that community isn’t a monolith: it’s a survival tactic, that brings together many different people with disparate experiences of the world. So research widely. 

Finally--do I think there’s only one kind of disabled narrative worth telling? No. For some people, a disabled character achieving a specific, ability-focused dream is a good story. For other people, a story that acknowledges and deals with the realities, and limitations, of disability is a good story. The same person might want both of those stories at different times, depending on their mood. That’s okay. Sometimes there’s power and delight in a fantasy of overcoming seemingly impossible obstacles and defying all expectations. Sometimes there’s value and catharsis in a narrative that delves into the challenges and grief and oppression experienced because of disability. There’s no one truth. 

To round all this off, I’m going to give my favourite example of this, which is Cinderella. I think it’s a great and useful tool, since for many it’s familiar and it’s very simple. Not much happens. In the story, she is bullied and tormented, until a fairy godmother gifts her over several nights with the opportunity to go to a royal ball, where she dances with a prince. The prince eventually is able to find Cinderella, due to a shoe left behind, and they are married. In some versions, the family that mistreated her are killed. In others, they’re forgiven. 

Some people hate the story of Cinderella, because she is seen as passive. She tolerates the bullying and never fights back. She does every chore she’s told. She is given an opportunity by a fairy godmother, and she doesn’t help herself go to the ball. She runs from the prince and he does the work to find her again. Eventually, she’s married and the prince, presumably, keeps her in happiness and comfort for the rest of her life. 

For some, this story is infuriating, because Cinderella doesn’t “save herself”: she is largely saved by external forces. She is seen as a quintessential damsel-in-distress, and especially for people who have been bullied, infantalised, or made to feel less capable or weak, that can be a real point of personal pain and discomfort. 

However, for some others, Cinderella is a figure of strength, because she is able to endure such hostile environments and terrible people and never gives up her gentle nature or her hope. She never becomes cruel, or bitter. She is brave in daring to go outside her tiny, trapped world, and she is brave to let the prince find her. She doesn’t have to fight or struggle to earn her reward of happiness and prove her worth, because she was always deserving of love and kindness. The prince recognises at once, narratively speaking, her goodness and virtue, and stops at nothing to deliver her a better life. 

Depending on the version, the wicked family disfigure themselves for their own greed--or are punished, which for some is a revenge fantasy; or Cinderella forgives them and once again shows her tenacious kindness, which for others is a different revenge fantasy. 

The point? Cinderella is the same character in the same story, but these are almost unrecognisable readings when you put them side-by-side. Which one is right? Which one is better? In my opinion, those are the wrong questions. I hope this (long, sorry) reply is a set of more useful ones.