#but from a writing standpoint it just feels like a lot of it was lacking

[bungee-gum-b1tch]

so 3.3 happened… what the fuck hoyoverse

rambling in the tags cuz i have way too many thoughts about this

[ultimate-marysue]

Thinking about writing something about RoyJay. I just love the idea of those two accidentally fumbling their way into having one of the healthiest dynamics in DC.

Like, they're both considered such fuck UPS by the cape community at large post drugs/pit madness. I just think they're both such no-bullshit people they would be actually really effective at cutting each other's self destructive/self isolating behavior. And at first they would fight it because "fuck you and your holier than thou shit", but they would eventually realize neither of them is judging the other. That they both come from a place of caring and empathy even if they can't always express it.

Like Roy has a lot of background on the Batfam dynamics from being friends with both Dick and Jason. He understands how it feels to not meet your mentors expectations and to be let down by them in your time of need. He's also a father that has lost his daughter and I think that he can both validate Jason's need for vengeance while also offering some perspective on Batman's self destructive behavior after Jason's death. I think that whole angle is so interesting to explore (even in a Bad Batdad or trying his best but it's not enough Batdad situation). Roy also would let Jason vent about his siblings sure, but once he calms down he'd force Jason to reckon with the fact that these are kids. Dick, Cass and Tim aren't at fault for other people comparing them to Jason, and unfair comparisons go both ways.

On the other hand I think that Jason is probably one of the better equipped people to help Roy through his addiction. Jason has never blamed Catherine for her struggles and understands that if she never managed to get clean it wasn't for a lack of love for him. He would be the most empathetic in that situation, understanding how fucking hard it is to stay clean, but at the same time he would never go easy on Roy because he knows that sometimes you need someone to hold you accountable until you can do it yourself again. Roy would really appreciate having someone that has his daughter's best interest at heart but doesn't judge him as a horrible father for struggling. It can be so hard when everyone else just assumes that you should be able to magically cure something that's affecting your brain chemistry because it's what "good parents should do". I also think Jason would point out the hypocrisy of Roy calling Dick a Martyr while pulling the same shit. Maybe Roy doesn't do it out of guilt and a savior complex but the end results are the same.

Like, I don't ship them just because they're two men standing next to each other being friends. I think that even from a completely platonic standpoint their dynamic must be so interesting because of all of the above. Canon doesn't do enough with all of those tasty parallels because they're cowards. They're in the perfect place to help each other and they have the no-nonsense attitude to keep each other in check. They wouldn't judge each other but neither would they try to fix each other. They'd help each other fix themselves. I'm chewing my arm off.

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[tomatopers]

biggest peeves with genshin x reader fics

I'm going to preface this by saying you can write whoever you want however you want and no one is gonna stop you; heck, it likely won't even affect your likes and stuff. These are my personal peeves stemming from character portrayal <3 Characters A-D

Albedo ;; He isn't very heavily emotive; He is shown to approach almost everything from a logical/analytic standpoint!! My guy expressed concern with the most nonchalant voice, so he clearly does care, just not in an expressive/passionate way

Alhaitham ;; Similar to Albedo, but slightly more expressive! He clearly has things/people that he values, and his own ways of showing care differ from societal norms, which is why he comes across as cold and indifferent!! Even the vulnerability that comes slowly with trust isn't immediately obvious, but this is definitely something that's interesting to explore in works⎯ Would he change the way he feels comfortable expressing himself into something else for you? Would you want him to?

Aloy ;; fuck what genshin did to my girl im skipping aloy

Amber ;; One of her main personality traits is the lack of deliberation!! Even with people she really cares about and loves!! Overthinking? We don't know them

Itto ;; Let bro be silly. Let bro make mistakes. Let bro have no idea what he's doing, but know he's giving it his all no matter what⎯ This is the Arataki Way.

Arlecchino ;; Gonna be honest I know jack shit about her but everything I read sounds hot <3 I do think she isn't the type to get frazzled/embarrassed but boy oh boy you can try

Baizhu ;; bffr he would NOT let you neglect your health like... Look at the man 🤨 I don't think he's the yelling type either?? Like he'll stand up for you obviously, but wouldn't start a fight imo; He got them dangerous snake eyes and scary words fr

Barbara ;; idk i don't read minor x reader things + i don't think i've ever seen a barbara x reader ever 💀 I do think she'd be patient and caring to the point where doing anything bad would make you feel guilty asf :/ not even in a romantic way, just like��anything. The kind persona isn't actually an act, she's in a role where she cannot be seen as anything else but it isn't hard to be kind as she would act that way, idol or not. More of a character thought, not a fic peeve </3

Beidou ;; She would start fights for you and she'd win, we all know this. I do think that many fics don't explore her emotions to a deeper extent, like motives and such? I think there's a lot of flexibility in that, and many avenues to explore! Not a peeve either, just a thought.

Bennett ;; Minor again(?), I don't read Bennett fics aha 😭 Grasping at straws here, with such a brave face shown to everyone, taking it off to share the sadder stuff sounds hard

Candace ;; Dunno much either 💀 Nor do I see any fics about her...

Charlotte ;; Would she love and cherish you? Yes. Would she leave her job for you? No. Would she feel bad about always being busy chasing headlines? Yes! Would she only really do well with a partner who supports her career and aspirations? Yes!

Chevreuse ;; Sorry guys I don't even know her 😭

Chiori ;; Would also start fights for you, would also win; Clearly takes no shit, I imagine certain compromises would take a while to reach? Canonically fairly headstrong, I doubt she'd be a pushover with an s/o

Chongyun ;; Minor 🧍

Clorinde ;; Her showing vulnerability with you definitely means a LOT. Beyond her career and the things she does for it, I just know there's so much going on in her head :( Let my girl share, give her a safe space, be patient to eventually emotionally connect

Collei ;; Minor 🤨

Cyno ;; He does not seem like the dominant/aggressive/pushy type :( I bet there's complicated feelings between the way he acts as a General and the way he acts with a lover⎯undeniably would never want you to be scared of him. Teasing type, likely nothing worse.

Dehya ;; I haven't seen her done dirty, so I'm pretty content

Diluc ;; High-functioning man, having dealt with varying stressors over so many years I doubt anything could interrupt his work flow⎯having said that, yes that means issues with a relationship making him struggle to work would mean more; Yes, i still believe that's highly unlikely

Diona ;; No.

Dori ;; No. Also, I hate her.

[chiprewington]

Character Analysis on Chip Revvington, the Chainsaw Consultant.

Genuine Long Post Warning, as well as a LOT of images. This is going to cover literally everything we know about Chip (as of April 25th, 2024) and my take on what's provided In Canon (being his Cogs Ink profile, his Interview, the 1.3 News Article, and In-Game). This is my first try at an In-depth Character Analysis. Screenshots used are from the official Wiki.gg, In-Game, and from the Corporate Clash News Archive.

Prior to being brought on to lead the Deforester Force, it's shown he's clearly a confident Suit, and has a genuine passion for his line of work as a consultant. With his personal statement alone this can be seen on full display with how he writes about himself, including noting how he's not swayed by bribery in any manner. (also the fact he outright pokes fun at one of the bribes will never not be funny to me)

Not to mention his lack of discipline records throughout his 19 months having already worked for C.O.G.S. with his usual job as an external consultant, this plus the fact he has "positive remarks" from his previous places of work shows he's probably in very high demand and really does excel at his job.

This is also shown in his interview, where he also equally shows a lot of passion for his job and genuine interest with answering questions relating to it. Before we get into that though, I feel like it's important to also point out a couple other things that I think about a lot with his profile.

This, being referred to as the "Temperamental Terminator" in the 1.3 trailer, and considering the average age of a Consultant is ~40+ years (and I personally hc him as 48), I think it's safe to say Chip just always was a quick-tempered individual throughout his life. It's one of his less favorable traits that I personally find charming.

And these read to me like Chip's always been considered "scary" among other suits. His behavior isn't the issue (yet) though, he's just a massive guy who happens to have a chainsaw for a snout.

Which. Makes this very interesting. Jennifer, stated something similar above, but I feel as if her intentions are more... unaware than the actual company's. Jennifer sees a guy with a big Chainsaw and thinks "Oh! He can cut down trees with that!" Jennifer ily. The company on the other hand probably has had this idea of what Chip could be a candidate for. They hired him to lead the Deforester Force. His job consists of him sitting in an office. Nothing relating to physical labor in cutting down trees, he just oversees the process. "Chainsaw apparatus will be helpful [...]" suddenly takes on a much darker meaning, in my mind.

Which is how we get here. Chip being modified with a clearly experimental hardware which we all know as the Personality Override. The fact that it was only "partially successful" is a very fun thing to consider.

Note the fact that from a canon standpoint the Override was implemented "2 weeks ago". This will be important later.

(The toon who got the above screenshots is not mine!)

Another fun side-note is the fact that the Override is experimental. It's experimental hardware. Chip is the only one with it. They are using him like a guinea pig. And not to mention "Dealing with Toons far more efficiently" paired with the above company-sourced "Chainsaw Apparatus will be useful [...]", you can't make this stuff up. They turned this guy into a living weapon likely without him knowing the full scope of what would happen if he did get this position in the first place.

Okay. Now we can talk about his Interview. Which even through glancing at it you can see just how passionate he is regarding his work. He is driven and confident that his plans for the Deforester Force will work. He wants to believe that he'll set an example for the rest of the departments to execute a similar plan.

And then this question comes up. And then I have to remind you it's probably been only a couple days since he's modified. And he already has rumors circulating about him.

And the moment the subject is changed, he perks right back up into being passionate about his work.

I also feel like it's worth mentioning the fact he's been actively requesting and wanting Spruce (who recommended him to begin with!!!) to join him in the Deforester Force and keeps being turned down on it. The way this and something else I'm about to touch on are written feels like he's barely been able to see him. These two have a brotherly bond and they're being separated. He misses his brother, man.

That's not even getting into this. Even as I'm writing this I just realized the implications of something at the end of this and I'm going to have to pace around my house thinking about it. But also you can see that even though just the slightest amount of time has canonically passed since the interview, you can already see the toll the Override's been taking on Chip's behavior. While he was once passionate, he's now actively complaining about his job. It's not even about the job itself, it's about what's happened to him.

Not to mention, I feel it also displays his temper in full swing once again- even if he's justified in this sense.

I also need to pay special mind to this ending bit right here because the implication of this with everything else surrounding it fucking broke me. uugghhhhh.

Now this is something I feel is so, so, so important to his character. He actively does not like toons. He clearly shows a certain disgust for them and views them like Animals. Pests. He doesn't hesitate to proudly state his opinion on them. And then you see him in-game.

He hasn't changed his mind about toons at all. Ignoring the fact that "you critters again" insinuates this isn't even his first contact with toons (will get to this later), he's... Restrained. I don't know, this reads to me like he's actively restraining himself from blowing up. "You don't want to see what happens when I get angry." is a warning to just comply and leave.

And then because he doesn't remember he fired the rest of the Deforester Force (another thing I want to touch on), he actively gets upset and angry at the remaining flunky because of course someone as high-rank as himself wouldn't want a Flunky on such an important team. Once again, additionally showing his active temper. His active temper he just tried to restrain and bottle up.

And that's what breaks the camel's back. The Override most likely activates from excessive anger/distress, something that Chip Actively Struggles With. He has to bottle himself up because if he tries to be his usual hot-tempered self, which is who he naturally is, he's just going to lose himself. Lose himself to cog knows how long as being a lifeless machine that perfectly and efficiently complies with the commands its given.

He begs for help when he's able to partially regain control (emphasis on partially, considering the most he can do is speak and prevent Deadwood from happening), but like. Again, to me this reads as the fact he is currently Incredibly Fucking Terrified because he's completely aware the whole time the Override is active. He can see himself acting against his will. It's mortifying. He's willing to beg anyone for help because the Override is genuinely traumatizing for him.

Which makes this all the more harrowing. He can't keep the Override at bay forever (likely the only reason why he partially regained control is from the sheer amount of pain he put himself in by ripping out one of his bulbs. You can see him brace himself and wince when that happens). Once again, "save yourselves" in this context feels more like he's scared. He's terrified. Because the Override sucks. And the implication of "ALL RAM CLEARED" doesn't leave much room to assume anything other than the Override likely clears out Chip's memories in order to make more processing room for this janky hardware to run at a constant overclocked state. I wonder how much of Chip's memories have been removed because of that thing, honestly.

By the way did you know that a normal chainsaw runs an average of 12,000 RPM. Do you think about how the little RPM icon is his saw smoking as if it's overheating. What the hell is the Override doing to him internally.

Another added touch I think about a lot is how his battle as a whole is, for the most part, very predictable. You control what cheats he does. Even in technical battle terms, everything is out of Chip's control. As long as every gag hits, you're really just manipulating an enemy's AI to to make the most optimal choices to your benefit. The Override perceives "X", and responds with "Y". You're not fighting an actual individual, just a program.

Clearly, whatever it's doing to him, it's painful (not mentioning the agonizing scream he lets out during this). And thank Cog he was able to regain control at the last second because it's way too obvious that the Override's "final fallback procedure" likely involved some kind of lethal force when it lunges at the toons. (The Chainsaw Apparatus will be helpful.)

There's no sorrow in Chip's words, that's what I think. Everything here is bitter. It's numb, to me.

He's clearly been through this song and dance multiple times by now. He's pissed at the toons, at the company, and at himself. But he can't properly let it out. You know what will happen if he does. The most he can do is throw a chair and scream into the air. (which that line gets its own custom voice clip, fun fact!)

It's clear he's been isolated ever since he's been upgraded, and it seems like he's bitterly accepted it. The only thing he has left to lose is Spruce, which is why he tells the toons not to tell him. If he loses Spruce...

I don't think he'd have much left. It'd make sense why he's grown so restrained and numb and stilted in his speech. He's quickly grown to learn that he can't let himself express anymore, all because of the override.

The fact that everyone else around him views him poorly doesn't help. His employees fear him. Most of them probably don't realize something is wrong, spread rumors about him, or outright attack him through hatemail. Written in Cipher.

"Chip has some anger issues. I would be careful around him. Don't worry about the Cogs though, I'm sure they'll be fine. Might get demoted back to their initial tier, but that's what happens when you work with Chip. Good thing that Toons can't get fired-- or wait, they can, can't they? Do Toons LIKE getting fired? I will never understand those animals. And you seen Spruce around lately? I haven't. I wonder how his deforesting expedition is going. There is a secret message up ahead in Chip's room. Can you find it? If you are stuck, have you considered looking around your surroundings?"

"I can't stand Chip anymore. I know I'm a Yesman, but I have to say NO. He used to be cool up until his sensors flared off. After what he did to my fellow coworker, I don't know if I can continue working under him. Sure, he's one of the most organized managers I've ever worked with, not to mention the flowing passion he has for the Deforester Force. His personality issues can single-handedly cause all of our projects to collapse. One of my former coworkers had raised concerns about Toons taking over our buildings and ultimately undoing all work that was done on our end. That poor Pencil Pusher overstepped his boundaries with Chip when he admitted his failure to secure "our" project from the Toons. Up until this point, I have never seen a Cog fire another Cog. With a cannon."

"It grinded my gears when I saw that happen. Him and I worked nonstop for days straight, while this pile of bolts just sat there doing his paperwork. I wouldn't be surprised if he was just doing crossword puzzles or writing letters to his little buddy. If you are reading this Mr. Revvington, you are the reason for our decline. We are running out of Deforester Force members because of you. As someone who has gone through close-call battles with the Toons, I hope you experience what it's like to have boulders and anvils fall from above you. You can try to fire me with that shoddy cannon of yours, but you would have to track me down first. I've already left the area and was recruited to a new organization far more stable than you will ever be."

------

...I genuinely love Mr. Revvington. He's a Suit who's been dealt the worst hand he could possibly ever get in life. He was just like anyone else, and then everything happened ever since joining C.O.G.S.. He's isolated, he's temperamental, he's pissy, he'd genuinely be someone hard to get along with because of the fact he's struggling with all sorts of issues and would be incredibly difficult and annoying to even start talking to and forming a bond with unless you're both stubborn and have patience. He's awful, and I love him for it.

I genuinely believe he's one of the most complex, beautifully written, and depressing characters in Corporate Clash. Maybe I dive way too deep into things about him, maybe he's not that deep at all. But I like to think about him. He makes me emotional, but he also makes me happy. Thank you for making him exist.

[eisforeidolon]

Question: Could you tell us some of the differences that you've discovered between acting and producing, directing and how they've affected your performances with both?

Jared: Oh, great question, great question.

Jeff: It's a real question! I can't even make - I'm trying to think if I can go dirty with that somehow. You got me thinking about their parents and -

Jared: Just grab her fan [referring to a previous fan's prop].

Jared: Yeah, it's a great question. I think, first and foremost, being involved in the production and how the sausage is made, so to speak?

Jeff: [shakes his head emphatically] And he doesn't think he could write a memoir.

Jensen: [also shaking his head] Any, any other analogy.

Jared: Seeing all the ingredients that go into a recipe, I have so much more -

Jeff: We're all thinking about sausages now. Way to go.

Jared: I have so much more respect for everything that happens before they call action. You know often times, and this is kind of whether it's actually getting into producing or directing or helping develop? But we were just talking about, Jensen and I were just talking about, our first jobs. Like, twenty five years ago. And my [finger quotes] job as I saw it then, the only thing I could tackle was like know your lines, hit your marks. You know? I didn't even think about, oh, what are these people doing? Oh, what went into this thought? And so understanding now, like why storylines go the way they go sometimes, and why people wear this or do that. And sometimes as simple, frankly, as an actor's availability or lack of availability - like with Jeff? We couldn't sign him on, we being Supernatural at large, couldn't sign him on - he would have loved to have stayed, I imagine? But they were like, hey, we don't have the budget to add another regular and so that's why the character went that way. Or like with me with Dean on Gilmore Girls, Dean had to take a turn and kind of get strange because they didn't have me. So they're not gonna write, like, hey John Winchester is now at the forefront of every episode, 'cause he might be on Grey's Anatomy next week.

[Audience cheers, Jeff bows]

Jared: And so learning about, kinda what restrictions there are to the art of the story you want to tell has been kind of what sticks out in my mind.

Jensen: Producer's just a title they gave me. I did nothing to earn it. It's just in my contract. No, I would say that the producing side of things is - you know there's a lot of different facets, I think a lot of different types of producers that handle different tasks. And that's really what a producer is, they're task rabbits. They are putting out fires, but if there's no fires to put out, then there's really not a whole lot to do as a producer. From a production standpoint. If you're talking about producing from like the conceptualizing standpoint when you're in the writing room and you're coming up with the -

[Kid yells yayyyyy]

Jensen: Okay. Yeah.

Jared: Yeah!

Jensen: [pointing] You understand!

Jeff: That's a future producer right there.

Jensen: Yeah, that's a creative producer. And so there's line producers that are in charge of, you know, keepin' the books and doing budgetary things and turning in budgets to the studio. And so there's a lot of different types of roles that fall under the producer umbrella. But with me it was more about just, that title to me just meant be a leader on set. Which I already kind of feel -

Jeff: You did that anyway.

Jensen: responsible for anyway as one of, as a lead actor - is setting a tone and leading by example and leading a cast and crew and with the help of others [gestures towards Jared]. And so producing was less of a, I think, bringing on more responsibility. I think Jared probably took on more because he liked that element of it? I would say for me what impacted acting more outside of acting was directing. Learning how - learning all the nuts and bolts to frame composition and why I'm using this lens instead of this lens. You know, focal length and drawing the audiences to certain - why you put a subject, whether you put them left frame or right frame instead of center frame. So all of that stuff started to really help me when I was in front of the camera, understanding why they were doing that. Having that knowledge and then just being more comfortable with my performance knowing exactly how it was - it was almost like I knew what the reflection looked like without the mirror being there. And that can be troubling for some people who don't wanna know, they just wanna just be able to perform? But especially I know Jared and I - and I think Jeff as well - were really technical with our acting. We understand marks and lighting and if you're not on your mark, you're not gonna be in focus and so - and then also framing and I can ask a camera operator who is twenty feet away what lens they're on and know exactly where that frame is hitting me [gestures framing his head and upper torso]. And so that just helps me in my performance because if I know they're on a one thirty five and they're right here [gestures to just his face] then I'm not gonna [flails a bit wildly] then I'm not gonna do that. But if they're on a forty -

Jared: Then you'll do that?

Jensen: Then I'll do [throws up hands]. Then I might make the motions bigger. You're able to play, the space is larger. And so just that kind of knowledge helped me as an actor, I think. And then I learned more of that from directing I think than I did, you know, anything on the producing side.

Jeff: I find producing to be more about lack of money now, than anything else. Every day starts with a phone call saying -

Jensen: It's too expensive!

Jeff: Too expensive, you spent too much money yesterday or on the episode before and so we have to take it away, how are we gonna do that? I'm like, take me out, I don't need to be in those scenes. [laughs] And I think both these guys are right, been around so long, I've never directed, I've been asked to direct for the last fourteen years on whatever show I've done and I didn't want to do it because I hate watching myself. I can't imagine going into an editing room and watching myself and being able to decide - I'd be like nope, I just wanna go stay on Jensen and Jared the whole scene. So I've never taken that step and also I've found that it takes a lot more time. And I don't have that. I don't have the time to leave my kids for an extra month to go do prep on the first episode of Dead City. These guys don't have to do that, I would have to go spend a month of fiddling around and looking at locations and you know, meeting with DPs if we don't have our DPs - I mean every year so far we've been on this spinoff we've had different DPs, so it's a lot of stuff. That being said, I've always been the guy next to our DPs saying why are you using that lens? Why not this lens? And asking those questions, so I feel like I could direct at this point pretty easily if it weren't for the fact that I'm in the damn thing. If I could go direct one of these guys [points to either side]? In a second. Yeah, that'd be great.

Jensen: Noted.

Jared: You heard it here first.

[prettyinpwn]

Hi PrettyinPwn! So, I wanted to ask you something, because I'm honestly lost and confused. Like, I know it's a dumb question, you don't even have to answer this ask if you don't want to, but could you help me understand the difference between Stan and Ford wanting to sail in the Stan o' War in the past and Stan and Ford sailing in the Stan-o'-War II in the present? One of the themes of Gravity Falls is about learning to let go and accept change and I want to know how it fits in this theme. At first I thought that they sailing in Stan-o'-War II in the present was a attempt of bring past to present by living a dream that is rooted in the past, which gives them an element of their past to hold on to and thus they can keep a part of their past in the present. But since the Pines learned to let go and accept change in the end of the show, I know that can't be that.

No, don't call it a dumb question; I think this is actually a great question to ask about the narrative (and one I've personally struggled with how to view myself).

You're 100% correct. It's odd that the narrative theme is about change and accepting it, yet the conclusion to the Stans' story is about returning to the past AKA holding onto the past.

When I think about it, this feels like a point where other themes and character arcs overrode or blend with this theme. Namely, the theme of healing family rifts, forgiveness, the conclusion of Stan and Ford's character arcs, and the beauty of the parallelism/juxtaposition of their story with Dipper and Mabel's.

As it pertains to Stan and Ford's character arcs, they had their own personal lessons to learn. Stan's was learning inherent worth and forgiving of self, in my opinion. Ford's was finding true acceptance/love for who he is (and by "true" I mean the honest kind that people like Stan and Fiddleford offered him that acknowledged his flaws but liked him anyway AKA selfless acceptance, not the selfish kind from people that just wanted to use him AKA Bill and his father to an extent).

So taking those two arc lessons, look at what Ford and Stan offer each other in the end: Ford asking Stan to go on an adventure with him is him subtly saying, "I forgive you and you have worth", and Stan accepting was him subtly saying, "I also forgive you and I still love/accept you". It's a return to the way they saw each other as kids. A key element here, too, is what Stan says to Ford when he first suggests the Stan-O-War idea when they're kids:

Ford is made fun of. Stan defends him from the bullies. And Ford says this (and from a writing standpoint, this is the part where the character states his need/want):

"But I am a freak. I just wonder if there's anywhere in the world where weirdos like me fit in."

And this is Stan's reply:

"Hey, chin up, buddy. Look. (He and Ford look at the sea) One of these days, you and me are gonna sail away from this dumb town. We'll hunt for treasure, get all the girls, and be an unstoppable team of adventurers."

If we break this down, it's basically Ford saying "I feel unaccepted and like an outcast" AKA his character wound and Stan saying "I accept you, you fit in with me, and I'll always stick with you".

So when they end up adventuring together at the end, it's them getting their character need. They're both the balm to each other's character wounds. That, and another thesis of Gravity Falls is that a Pines twin alone is their worst self, but together, they're at their best. I explored this in my post about Mabel's writing, but I think that's why Hirsch and crew wrote both sets of twins sticking together in the end.

A metaphor the fandom likes to use a lot with the Stans is D&D stats: Ford is high intelligence but abysmal wisdom, and Stan is high wisdom but lower intelligence. So alone... well, we saw it for ourselves. Ford alone is taken advantage of, isolated, lacking common sense, etc. Stan alone is depressed, a bit dumb (I say that affectionately but he wasn't good in school, we all know this), etc. Lo and behold: they have what the other doesn't, and their character arc resolution is realizing they need each other and have different strengths that help cover their own flaws.

So all in all, it's still the theme of change, because the Stans sticking together is a change from their status quo at that point (they'd been apart for decades). But it's the theme of change tempered with the value of still holding on to what matters. Like Dipper and Mabel: yeah, they're accepting change and the future, but they're also holding on to some things AKA each other. That's what the Stans failed to learn until they were older, what the niblings taught them, and what they rediscovered that they'd long lost.

So honestly, the theme of change really should be reworded to "accepting a good balance between the past and the future; you can't stop time, but you can still fondly hold onto parts of the past". Why? Because this theme in and of itself is a blend of both sets of twins: the future focus of Ford and Dipper wanting to follow their ambitions and grow up faster, and the past focus of Stan and Mabel wanting to cling on to the past and stop time (I mean, look at the metaphor of the perpetual motion machine and Stan breaking it; he wanted to stop time - a perpetual motion machine in real life - basically).

This new version of the theme reflects that both sides have a point, and both sides were slightly wrong: the narrative conclusion their characters help define is a blend of both arguments; compromise. And the Stan-O-War II is just that: holding onto the past as they sail into the future; compromise between the two viewpoints and characters.

I hope that answers your question! :D

[three--rings]

4 Minutes episode 8

Non-spoilery conclusion: this show was flawed but I did enjoy it and I want to see more from everyone involved, you know?

So we're in the reality where Tyme is a caring doctor?

And where he is a good boyfriend even when breaking up...

I'm sorry but doctor/patient to dating is super uncomfortable. Like I get this is the fuzzy version of events but IDK gives me the ick.

Akira! My favorite actor in the show!

Okay toxic yaoi threesome I guess.

Wait tell me they didn't go back to Tonkla house, right? Are you fuckers at home when there's a manhunt?

Well, yeah, okay that clusterfuck was always gonna end badly. And honestly? I fuck with that kind of tragic doomed love between flawed people.

Okay making merits for the guy who shot you? Did Great know about their relationship?

Ah yeah I figured the money exchange was a setup.

Okay, okay. So...ultimately, I think the show was a valiant attempt at doing something different and being a really twisty mystery, but it could have used a rewrite, and probably more episodes.

Like, I really think rushing through the resolution in this episode is a mistep because it skips over the actual resolution of Tyme and Great's relationship, the actual love confession and getting together. Like, that's the MONEY SHOT of the romance and we don't really get it. Like, sure we got to see their 4 minutes versions of their relationship, but they didn't, and we didn't get to see them reunite and work it out.

I get from a writing standpoint, that's a very hard thing to write, especially in a snappy manner, which is why the easy choice is to skip it, but you're denying the audience the emotional payoff. And also sorta denying the really messy version of their relationship they had by only presenting us with a sanitized honeymoon version at the end. Like what I really want is seeing that hard work of these two flawed and hurt people getting over it and accepting each other for REAL.

Yeah what I really want is the fanfic of this show I think.

Other big missteps are how confusing a lot of the out-of-order stuff was with the Tonkla plot, though I ultimately got that.

And most of all, the lack of real characterization of Great up until we get the real version of his story. He just felt flat and blank until then, and I get WHY and I don't know how to better resolve that while still getting the "oh shit it wasn't real" reveal. But like...IDK.

This show very much feels like an experiment that was worthy and had a lot of hard work put into it but didn't quite land.

I really think the actors all did great and the filming and everything was excellent, so I hope we continue to get good stuff from BOC. I also really like Bible and Jes individually and think they're both super talented, but I'm not entirely convinced by the chemistry... IDK.

[fluffydice]

I'm bored so I'm bothering you. Do you have any Saiki K psykickers headcannons you feel like sharing? It's ok if not 🥰

What have you done,,,

I don't have any specific headcanons, but I can talk a bit about their dynamics because I've thought (and written) about it more (and we'll inevitably get headcanons mixed in!)

The Pyskickers are interesting characters all on their own, but when you put them together, you get a mess that really shouldn't work as well as it does. Which is. The same for most ND friend groups asdfghjkl

A big thing that's important to me about them is that they have to be able to work without Saiki. Maybe not be functional, competent humans—especially because, like all of Saiki's friends, the more they group up the more braincells they lose—but they need to work as a friend group. Saiki, unlike with his other friend group, doesn't always feel the need to babysit the Psykickers. Toritsuka, maybe, but he's in a weird spot since he joined so early. Saiki and him were the only ones for a while, so he's kinda an in-between. But for the most part, Aiura and Akechi are usually actively helping Saiki with something. Toritsuka, too, even if 7/10 he's being threatened and/or bribed, 2/10 he's trying to help but failing—him succeeding that 1/10 already puts him in a separate category than most of Saiki's friends.

I went on a tangent there; point being, Saiki isn't constantly mother-henning and helicopter-ing them. Ergo, Saiki can't be the only reason they stick together. I don't want Saiki to be the only reason they stick together in my writing, mainly because I do like reinforcing the fact that not everything is about him—even if it's subtle. Things happen around him that Saiki is not always privy to, and this includes his fellow and honorary psychics' dynamics.

Akechi and Aiura are easy for me. Funnily enough, despite likely having the best relationship, even including Saiki, I have little to say about them. It's likely because they lack a lot of the complexity the others have: they're just really fucking cool with each other, and get along swimmingly. Honestly, when I write them, it's often with at least a hint of a romantic undertone. They're comfortable with each other physically and emotionally. Akechi trusts Aiura's judgement on when he should keep it short out of necessity, not because he's being annoying. Aiura thinks Akechi is wicked as hell, and also trusts his value judgements on people and situations.

From a literary standpoint, Aiura as a character tends to get in over her head and overly emotionally-invested in things—Akechi can provide a good counterbalance to ensure things can remain on track in the story, as well as help avoid any potential mini-conflicts that might arise from characters clashing due to simple communication incompatibility.

Speaking of communication incompatibility, Toritsuka and Aiura are full of it. Despite them seemingly being the most similar on the surface-level, their motivations, intentions, and moralities conflict. A lot. Take this scene I wrote of them, for example:

“Of course they were mad! You can’t just act like you don’t have emotions whenever you feel like it. Or, if you do, you can’t get depressed when they start treating you like it.” “If you don’t shut up,” Aiura hissed, grabbing a fistful of his sleeve. Toritsuka yanked his arm away to no avail, then settled for glaring at her. “I’m gonna—"

Here, we have Toritsuka actually making a good point about something; it's his wording that muddles it up. Aiura is quick to defend against him because she's protective of her loved ones, and is also aware that their beliefs differ sharply. Neither are quite in the wrong here; or, neither of them are any more right than the other. Aiura is right to assume the worst because that's typically what Toritsuka shows. Toritsuka is right to point things out about the situation. These are the mini-conflicts that Akechi smooths over by being essentially a bridge between their ways of communicating:

“Wait, Mikoto,” Akechi piped up. His fingers were in front of his mouth, his thumb cupping his chin, in a classic sign of thinking. “The wording was harsh, admittedly, but Reita is, in fact, not wrong.”

At the end of the day, though, they are friends. Aiura might be a tiny bit more willing to admit it, but both her and Toritsuka do care about each other. When they work together, big things happen. They just need a bit of oil to help smooth things along between them. Most of their dynamic, however, comes from their utility in stores:

From a literary standpoint, Toritsuka helps balance out Aiura's optimism to a reasonable point. Saiki's cynicism is often a big contributor to conflicts in my stories—he's unreliable, both in dialogue and in narration. Toritsuka is a milder version of that cynicism (albeit rough around the edges). Aiura can't always be right about the way of things, but Akechi is too prone to taking the middle ground; essentially, pointing out all the benefits to her way of thinking while also providing the downsides. Sometimes, though, it's necessary to just have someone completely shut it down, and fast. That's where Toritsuka comes in.

Also, Toritsuka and Aiura often act as the representation of the doubts and hopes of Saiki, respectively. They're essentially foils to each other, which is helpful when your main character is a hot-and-cold tempered little bitch. A sort of good-cop bad-cop for him, if you will. By having them verbally duke it out, it helps guide the reader a bit about what's true about Saiki's view and what's distorted by his way of thinking. Chances are, if they manage to agree, it's a lesson he's going to have to learn.

And finally, Akechi and Toritsuka. Though they're comfortable with each other to an extent, they lack the romantic undertones I put in for Akechi and Aiura. Akechi makes Toritsuka uncomfortable: it's hard to argue with him, for one, and he often calls out Toritsuka in a way that's hard to hide from. Akechi is the most successfully mentor-like to Toritsuka out of the rest of them—Aiura is too automatically competitive and Saiki can smother. There's also the fact that Toritsuka can sometimes trigger his trauma in certain ways, so Saiki tends to lash out. Akechi, however, is patient and steady. Anything Toritsuka says rolls off of him like water. Akechi is hard to catch off guard with words or actions, and deep down, Toritsuka really does need stability and an unwavering personality to help him grow as a person. I think Toritsuka is fascinating to Akechi as well, as I don't think Akechi is a naturally sexual being. He's not averse, but the kind of brain-rotted attraction and horniness that Toritsuka often exhibits can teach Akechi a lot about other people. The biggest thing that Toritsuka offers Akechi is a better understanding of other people. His down-to-earth nature can help Akechi connect his practical knowledge about psychoanalysis and anthropology to actual people.

From a literary standpoint, Akechi acts as a milder reign for Toritsuka. Aiura may be right to disagree with him, but sometimes a defter explanation is needed than Aiura's often emotion-driven responses. This is where Akechi comes in, especially because Toritsuka's language and laziness can make it seem as though he's not to be trusted as a rational view. He is, and Akechi helps uncover that.

Also, Toritsuka can sometimes act as the audiences natural reaction to Akechi's tangents. Akechi obviously likes to ramble, but Aiura won't interrupt him and Saiki won't confront people. Toritsuka cuts through a lot of that easily and naturally, which helps keep them both in character while still allowing the story to move on.

Overall, it's kind of easy to see what utility I get out of these characters. Akechi is an intermediary who bridges gaps of understanding, both between characters and the audience and the happenings of the story. Aiura is the outgoing one, the one to get things started. She provides a force against Saiki's heavily biased world-view and acts as a moral compass for her group. Toritsuka helps cut through a lot of bullshit and acts as healthy dosage of reality these personalities need to keep their heads on straight.

Plus, I think they're in an unofficial QPR. So.

[pacific-rimbaud]

Now that you’ve mentioned Normal People, what did you think about it? I feel this story is quite polarizing.

I preferentially read, for lack of a better term, literary fiction and voicey writers. I quite like Sally Rooney's prose, I quite like the no quotation marks thing (Cormac McCarthy my beloved), I quite like a spare, direct narrative (I like a lot of different styles of diction). I have read no analysis or chatter about Normal People, but it seems quite plainly to me about lovers who are compatible in the ways we tend to think matter most in youth—sexually, intellectually—and how their communication and therefore their affair is fundamentally fractured because of their various standpoints. She's rich, he's working class, he's safe and securely attached at home, she's abused, he has social capital in high school but not at university, she's the other way around, and so on. The way he conflates privacy with intimacy, the way she conflates sexual utility with personal value, these are the filters through which they cannot (and never do) communicate. In a therapized age it's so easy to want people to just say how they feel, but that's not how my life has worked and it's not how life works a lot of the time even for the properly counseled and medicated and trauma-processed among us. I wasn't a fan of the abuse-to-BDSM pipeline as depicted in the novel, but that's really not my space and people in the kink community have critiqued it better than I could. I also found the TV adaptation baffling. Connell never shakes his ambivalence toward Marianne in the book. She never learns to tell him directly what she wants (what she wants will always be what he wants, all the better if it hurts her). They grow, but it's not enough. That closing sentiment, "They’ve done a lot of good for each other. Really, she thinks, really. People can really change one another," is ambivalent! It's ironic! He's waiting for her to tell him to stay but she's telling him to go, she's telling him to go when she would like him to stay. In the TV show it's like. WTF is going on in this scene. Why are we weeping at each other on the floor in the golden dawn of our self-actualization. In the book he's hung over and maybe there's something sexual going on between him and another woman or maybe Marianne's paranoid, we can't tell and neither can they, it's weird and sad and not in a romantic way. Anyway, I own a copy of the book, and I go back to it from time to time to feel sad feelings in my chest and for these revelatory little sentences that make me want to write. But I get why people hate it lol.

[positivelybeastly]

X-Force #50

All right, well, we finally did it, gang. We hit the big 5-0, and it's all done. And guess what?

It's all up hill from here! Wednesday spoilers below the cut, and . . . quite a lot of rambling? If I'm honest?

So, we open up on X-Force trying to kill good Hank and Simon, because they are dumb, despite Kid Omega and Sage asserting their genius. They blow up their little gay boat of love, and our intrepid heroes get pitched into the drink.

So . . . this is . . .

Why is Simon wearing a rebreather/oxygen tank?

Dear reader, I implore you to open this link, and scroll down to Simon Williams' powers and abilities.

Immortality: Williams is functionally immortal. Because of the ionic energy that empowers him, he no longer ages and is immune to disease and infection. This same energy sustains Williams' physical vitality far more efficiently than the biochemical process that sustain ordinary human life.

Self-Sustenance As a result of his transformation he no longer requires food, sleep, water or oxygen to survive. Simon is now a fully energized entity who can sustain himself indefinitely without nourishment, easily able to live outside habitable planet orbit.

Benjamin Percy, writer; Drew Baumgartner, Assistant Editor; Mark Basso, Editor; Jordan D. White, Senior Editor.

All four of these men are incapable of Googling basic facts about a character that Marvel has owned and been using since the 1960s. Basic facts that are available if you do so much as a basic skim of the man's Wiki page.

So, why is Simon wearing a rebreather/oxygen tank? So that evil Beast can destroy it and send Simon up to the surface, and good Beast and evil Beast can talk uninterrupted. That's the only actual reason. This is laziness from both an editorial and a writing standpoint, since you could have easily just had evil Beast use some kind of gadget to achieve the same effect, but don't worry! This won't be the most egregious lack of attention to detail this issue!

Yaaaaaay . . .

"My Beast," huh, Simon?

Gay.

Also, this scene makes X-Force look fucking pathetic, because Simon could literally wipe the floor with every one of them and not break a sweat. Simon 'my fists are LITERALLY as strong as Thor's hammer' Williams has nothing to fear from fucking Omega Red. His pacifism is the only thing keeping you from looking even stupider than you already do.

Orchis attacks to give the rest of X-Force something to do. I don't care.

But we do get this funny fuckin' shit.

Tie him up?

Logan, did you forget the last time you fought Simon? Or the time before that?

Anyway, the Beasts talk. It's not a particularly interesting conversation, for the most part.

God, this plan is just so fucking stupid.

But.

There is one moment that actually kinda works.

It's really funny to me that two of the worst Beast writers of all time, Brian Michael Bendis and Benjamin Percy, both managed to grok this essential fact - Hank McCoy loved being this version of Hank McCoy.

He was happy.

He was comfortable.

He was loved.

Feline Hank, as much as I love him, as much as he's my favourite iteration of the character, was never happy in his skin. How could he be? It wasn't something he chose, it was forced upon him. To save his life.

Well, what if he didn't want to be saved? What if he felt his life was so miserable that he might've thought, perhaps I should just let it all end?

He had moments, sure. But he never really escaped this feeling. This fear, this anxiety, this trauma, this pain. He carried it with him for the rest of his life. Just constant trauma, death, misery, regret, mistakes, chances not taken, failures.

But he would never be the same again. It's funny. He's the version I love most, but he's the version of Hank who could never love himself.

Which . . . is partly why it bugs me when people say Hank has internalised mutantphobia. Like, he kinda does, but I honestly don't really feel like it's quite that simple. He's comfortable in his simian form, he loves it, he only very occasionally angsts about it, he is happy. It's when he turns feline that he hates his mutant 'gift,' because now he has to worry about what might come next.

This is not the same as, I hate my mutant powers because they make my life inconvenient, because it means people hate and fear me. He can deal with that. He's been dealing with that since he was seventeen and nearly beaten to death by an angry mob for saving a child.

This is, I hate my mutant powers because they are turning me into something less than human or mutant. Because I am a danger. Because I am in danger.

And his fears are validated. He nearly kills Blindfold and Armour. He eats Logan's leg, tastes human flesh. He spends the last seven issues of Whedon's Astonishing X-Men with the taste of human skin and meat on his lips. How the fuck is he meant to be happy like this?

Anyway, back to X-Force. The two Beasts fight. Orchis shit happens.

Fuck off, Logan. Stop acting like you're at all relevant to proceedings.

Gay.

"X-Force ain't the ones you root for. But we get the dirty jobs done."

You didn't fucking do anything.

Hank and Simon could have fixed this entire mess without you. The only reason you were fighting a Sentinel was because you drew it to your location with your jet, firing at a gay little blue man and his fruity ionic boyfriend! You didn't contribute anything!

And then, as if to cap it all off . . .

What a self-aggrandising load of wank.

Hey, what was Colossus' plot arc through this series?

He spent 5 years being mind controlled and killed his girlfriend.

What was Domino's plot arc through this series?

Well, she got hurt a lot. There was that one time she got skinned. That was fun.

What was Laura Kinney's plot arc through this series?

There were entire issues where she didn't speak a fucking word.

You had.

50.

ISSUES.

And this is the best you could come up with?

"The plan was always for the war without to lead to the war within these two characters."

Is that why Wonder Man was more important to the climax of your book than Logan?

Go step on a fucking Lego, Ben.

This was allegedly a run all about black ops wetwork, the sacrifice of your soul to the harsh work that protecting your country requires, the inexorable slide towards moral degradation that comes from compromise.

It ended with a blue man in a stupid plant suit sacrificing himself to save a D-list actor from a bomb that would have crushed Mars into a pocket dimension, all so that his clone can go and become roommates with said D-list actor.

Ben Percy, of all the writers the X-office has welcomed into its midst, you were certainly one of them.

I just . . . this was what was worth jettisoning 40 years of Hank McCoy's personal history for? This cockamamie bullshit? This excuse for you to whip your dick out and pretend you're Larry Hama, when you can barely measure up to Chuck Austen?

Also, Jonathan Hickman, you're kind of on my shitlist for this, too. You may write a halfway decent comic book every now and then - and make no mistake, they're mostly halfway decent, I think he scrapes greatness with his ideas, but his execution is. Dry.

But that's better than his eye for talent, clearly.

I hate being negative. I feel guilty every time. I don't enjoy it. I hate to dwell. I hate to spiral. I hate to obsess over things.

But X-Force is just . . .

X-Force was, just shit. I will go to my grave telling anyone who'll listen that it's not worth reading.

"It'll read better in trades!" No, it won't.

"It has such a good team!" If you burn a pie made of good ingredients, you still have a burnt pie to eat.

"The art is so good!" And if you put sprinkles in a toilet bowl, it's still a toilet. It just looks prettier now.

Oh, and just in case anyone from Marvel ever reads this - they won't, they only hang around on Twitter so people can jerk off about the panels they write explicitly to be shared by the X-stans - I've pirated every comic I've read in the last 10 years. Every issue of X-Force? Pirated. All these caps? Pirated. Every time someone asks me where to read comics, what to read? Pirate links.

I didn't pay a dime for this series. I still feel like I got ripped off.

I almost can't believe it's over . . . what am I going to do with my life now that I don't have X-Force to complain about?

Oh, yeah. I can just read good comics. Nearly forgot about that.

But hey. That leads me to . . . I don't know, I guess, the end of an era.

Because Hank didn't get his memories back. Maybe he will in the future, but I don't have faith that there's anyone at Marvel that feels this strongly about Beast, so I doubt it. I need to write this down, anyway, for the catharsis. It'll help me say goodbye.

Rest in peace, Hank McCoy, 1985-2018.

You were the Beast I fell in love with. You were the man who taught me to be gentle when the world was unkind. You were the man who taught me that sometimes you don't have to love the body you're in, you just have to want to keep on going, because it can get better. There's always that chance. You were the man who led me to my boyfriend of 12 years, who I love more dearly than anything else on the planet. You were my friend when I didn't have many, and you've helped me make a lot of friends I quite appreciate. People I'm proud to know.

You're gone now. A lot of people aren't going to mourn you. They don't appreciate what was lost. But that's okay. I'll tell anyone who'll listen how brilliant you were. I'll try not to hold it against the version of you I'm left with, that he isn't you. He was you once. He could be like you again. Maybe better. I'd like that. I hope that's the case.

I'll keep writing you. I honestly don't think I could ever stop.

I'll try my best not to be sad that you're gone.

I'll try my best to instead be simply glad that you happened.

I'll give the past its due.

Which is all you can do, in the end, for the dead and for the past.

Well.

That, and live.

[redd956]

Writing Characters with Varying Empathy, Sympathy, & Compassion

Prt.1 Empathy

First of all, let’s put down the elephant in the room. Lately online there has been a lot of misinformation over the factors of empathy, sympathy, and compassion. So first we need to define how these things differ from each other, and what exactly they are.

The Difference

There is a big difference between these three, made significant by how groups of people tend to overreact and get these terms mixed up, causing unnecessary drama. So...

Empathy

The ability to feel, share and/or understand someone else’s pain/emotions from their standpoint.

Sympathy

The ability to acknowledge and feel pity for someone else’s pain/emotions.

Compassion

Action in good faith deriving from thoughts and feelings from empathy and/or sympathy, to relieve someone else of a negative emotion/pain.

Examples

Character A is sad, because a family member of theirs passed away

Character B cries seeing Character A cry, thinking of their own family member, and imagining how tough it also must be for Character A. They go through the motions together that night, finding comfort in each other. -Usage of empathy

Character B frowns at the sight of Character A crying, knowing what had happened. They waltz into the room, readying a comforting pat. “I’m so sorry, Character A.”, They whisper, leaning up against them, and clasping their shaking hand. -Usage of sympathy

Character B sits beside Character A, a large bowl of their favorite ice cream in hand. “Hey Character A, I heard what happened and I just couldn’t stop thinking about how bad that must be. I brought you some ice cream, it could help with the sore throat from all this crying.” - Usage of Compassion

The Variation Aspect

It is important to note that having empathy doesn’t inherently make someone a better or good person, same goes to lacking empathy making people villainous. There are natural variations of empathy among people, and these do not dictate whether or not someone is more likely to follow what societal alignment or another.

People with high empathy can still be awful, just as those with low empathy can still be kind souls. Empathy levels are detached from morals and ideologies, which is an important notion to make when creating characters.

Average Empathy

Average empathy is being able to feel and express empathy of course at an average level. They have an easy time sharing their emotions, and feeling when someone is going through a particular emotion. They simply experiencing empathy as expected an as most due, and don’t share the same realities as those with heightened empathy, and lower empathy.

Heightened Empathy

Empaths or those with Hyper Empathy are people who have heightened empathy. Some people can be this way naturally, but more commonly hyper empathy can be a side effect to having mental illness, such as PTSD, BPD, or ADHD.

(BPD and ADHD can also have lack of empathy as a side effect)

Obviously, empaths feel more empathy than the average person, this leads to both pros and cons, one more than the other depending on which angle you look at it. Empaths share others’ emotions at a noticeable intensity compared the average. They can more easily spot emotional differences, unearth other people’s masks, and are sensitive to tiny changes in mood. They take the other person’s pain as their own very seriously, as others

Because of this crowds of people can be incredibly overwhelming. Human interaction is more emotionally draining, and they can get socially burnt out far quicker than the average person. Empaths have a difficult time setting boundaries with others. They are often labeled over emotional, and sensitive. With empathy having such positive connotations, many assume that empaths have it easier and live a whimsical life.

Lower Empathy

Those with empathy lower than the average don’t have it easy either, as just like empaths, it drastically affects life, especially socially. Different neurotypes, those with mental illnesses, head trauma, psychological trauma, and more can lead to lacking empathy in one way or another. More well known those with cluster B disorders infamously get their bad reputation due to low empathy.

Those with lower empathy have a difficult time taking on and sharing other people’s emotions. Because of this they can struggle to understand and relate to other’s experiences. They have harder time coping with emotional situations, and can easily misinterpret the emotions/emotional responses of others. Their emotions themselves can seem callus, and inappropriate to situations.

All of this leads to difficulty in decision making related to others, social struggles, and trouble fitting in with societal standards. Lack of empathy itself can range drastically. For many it makes them more susceptible to negative and potential dangerous behaviors, as well as a lack of healthy self-esteem. This has lead to people with low empathy being vilified, especially in media.

OH YEAH IM A WRITING BLOG-

When writing a character with varying empathy there’s definitely a lot to consider. Especially since their levels of compassion or sympathy can vary themselves, separate from empathy. 

You want to avoid

Using empathy related terms incorrectly, but especially disorder/medical terms related to these things incorrectly

Making a character evil solely because their empathy is low

Making a character a pure hero solely because their empathy is high

Things to consider about a character’s empathy

How a character reacts to situations based on a mixture of their empathy, compassion, and sympathy

If you’re character is lacking empathy, how are they handling sympathy

Are their reactions realistic

How a character’s morals and ideals differ from their empathy

Character dynamics formed by a difference or similarity in empathy

Characters in a group reacting differently based on their empathy, sympathy, and compassion

One character displaying empathy more, while another displays sympathy more

How the character feels about their own level of empathy

How their empathy affects them in their worldbuilding

Do proper research if you’ve decided you want a character with a level of empathy

To be continued, Hopefully here -> [ ] [ ]

Maybe, HeavenlySoup this is a sign of me trying to come up with writing refs for heroic and empathetic characters for those with low empathy to understand, maybe you my dear love, are my guinea pig?

[amethystina]

Good morning/afternoon 🌸

I am interested in reading about u have added to these following fics:

Who holds the devil (is it sad ? :()

Gravitational pull (this one is very sexy and sensual. I am excited to see what u added to it !)

I hope u have a lovely day/afternoon/night 🌷 and good luck with ur health 💗

Thank u for always spoiling us 🦋

Good evening! 💜

Alright, here we go!

Who Holds the Devil

To be honest, the most recent thing I did for this fic was to look through my plans for the coming five chapters and rearrange a couple of things. Because I noticed that some scenes needed to come in a different order for the story to make logical sense.

I don't have any snippets as such (again, a lot of it is just a series of lines of dialogue xD) but what I can say is that the next chapter will focus on the trial and Ga On's therapy appointment. Though the latter might not be entirely what you all are hoping for x'D

But there will be lots of Elijah, so that's something?

Yo Han and Ga On are also going to start having somewhat more normal conversations again, either in the next chapter or the one after that (it depends on how many scenes I can fit into the next one without it getting too long). That's not to say that things will be fixed or easy by any means, but they're getting closer to finding some sort of new normal.

Whether or not that's a normal they actually want, well — that's another thing entirely.

Admittedly, this is the story I'm the most careful not to give spoilers for, so sorry for being a little less forthcoming. But I will say that as things are planned right now, chapters 43-47 will all contain scenes I've been waiting months — if not years — to write. I am seriously so excited for a lot of them and I can't wait for you all to see them.

Lots of good things to come! :D

(and by good I sometimes mean painful but I promise it'll be worth it in the end)

Gravitational Pull 2

Oh man, do I feel guilty about this one. Because it's fully plotted. I know exactly what's going to be in it and I'm really looking forward to it since it's going to explore another "what if" scenario that breaks canon, but I'm just... not writing it? For a while there it was because I know this instalment will contain sexual content and that was — and still is — a bit intimidating. But I can't say I've never done it before since I've now written Each Touch. And, in all honesty, the sex in the Gravitational Pull sequel isn't quite as intense, though arguably more ill-advised from a social etiquette standpoint — all Yo Han's fault, obviously.

In the end, I think the main reason I haven't continued — despite wanting to — is lack of time and not having been able to prioritise it. I only have so many hours when I can write and, due to all of my health issues, it's always less than I would like.

That said, I have every intention of continuing and actually have a little bit written already. The fic will continue right after the first one — or the day after, to be more precise, when Yo Han, Ga On, and Jin Joo are in the car heading towards Hyeongsan-dong and the riots.

And here's a little snippet!

---

Ga On tried his best not to look at Yo Han.

The tension lay thick inside the car, the silence pushing against Ga On's eardrums. Judge Oh, who sat in the back, probably assumed it was because of the crisis at hand — apprehension at the thought of what lay ahead of them — but that was only partially true. Ga On was also struggling with an insistent, nerve-wracking hum of concern, making his spine stiff and throat tight.

Yo Han shouldn't be here. He was still injured — only a day had passed since he'd gotten shot.

No matter how grave the situation was, Yo Han should be at home, resting, not driving them to an area of Seoul that was quickly becoming as chaotic as an active war zone.

Ga On gritted his teeth — until his jaws began to hurt from the strain — and looked down at his hands. They were tightly clenched in his lap, his thumb rubbing restlessly over the other. Perhaps Ga On was being too selfish, but he didn't want Yo Han to put himself in danger like this — not when he wasn't at his best. Ga On could admit that Yo Han hid it well but since Ga On knew to look for it, he could see the subtle delay in Yo Han's movements and how he held himself slightly more rigidly than usual.

Yo Han was still in pain.

He still had a goddamn hole in his stomach but pretended that he didn't.

And Ga On had to play along, since Kang Yo Han couldn't show weakness. The people around them couldn't know that the chief judge was injured. The fact that their opponents did was already bad enough — and was probably why they chose now to try and overthrow him. They didn't think Yo Han would be able to fight back as fiercely — with as much precision — as he normally would.

They were expecting an easy victory.

But, even injured, Yo Han was a force to be reckoned with and, as always, would do whatever it took to win.

Even if it jeopardized his own well-being — and Ga On's peace of mind.

---

In canon, Ga On obviously had no idea that Yo Han was injured when they were doing all this reckless shit, but here he does. And BOY does he hate it. Which I can't blame him for. But it's also not going to stop Yo Han because, well, Yo Han.

I think I'm just going to have to schedule a time to finish writing this if I want to get it done — preferably sometime soon...

Thank you so much for the ask! And you have a lovely day too :D

WIP Tag Game

[risaceofhearts]

tell me about your favorite blorbo! Why are they you favorite?

Oooo thanks for the ask. I'd say currently my favorite blorbo that isnt of my own creation is Dorian Pavus from Dragon Age: Inquisition.

He's my beloved and last summer that was obvious in the sheer amount of Dorianposting I did. But anyway.

He's generally the kind of smartass character I enjoy, especially from the dragon age games. He has a lot of feelings and he hides them behind a quick wit and a sharp tongue but he's overall charming.

He's also the first male character in the whole series who can only be romanced by other male characters. Inquisition also has Dragon Age's first lesbian character in Sera, and both of them get into relationships with other characters if you don't romance them which isn't super relevant but I think it's neat.

Also he's just very clever and resourceful, has really meaningful character moments, his romance arc is just *chef's kiss* and he has some of my favorite lines in the game.

He's also from a noble family from the Tevinter Imperium, which is basically an equivalent of the roman empire and if you don't know, basically what you need to know is that they're generally painted as the ultimate enemies due to their history as colonizers and whatnot which.. Is fair. And Dorian acknowledges that, but he does love his country and wants to at least try to make it a better place, which I can admire. (Even if I may not agree with him all the time, I appreciate that the writers didn't make him Not Like Other Tevinters in every single way because then there's barely a point in him being Tevinter yknow)

I also like that he is still kinda spoiled? Like it's obvious he is a noble. I like that from a writing standpoint.

And anyway he's a mage and a brilliant scientist, knowing a lot about the inner workings of magic and trying to develop new ways to work with it. It's cool.

Thats about as much as I can say without rambling too much or giving spoilers buuuut if you don't mind spoilers or a lack of context...

[katyspersonal]

Top 5 Elden Ring's demigods

Argh... Could you've given me any HARDER top to make? :') No matter who I put below 5th place, I will feel like a huge prick @_@ Because they all deserve some praise, and some love. It is just incredibly good writing. Well, fine then, let's try.

Five - Morgott!

I talked about him already. The absolute tear-jerker character, a member of oppressed minority, that is defending the very corrupt system that deems people like HIM worthless.... He made me cry (/srs ) more than once upon just this sentiment. He is very realistic, and very easy to sympathise with and feel bad for. He certainly radiates a giant soft spot, though (and not JUST because he has dad bod that is completely naked under his robes, hahaha). In a weird way, he reminds me of Asg0re, a character from my other fandom - a big "monster" King who did a lot of bad things on his way, and because of his mental wound, but in the end might melt upon a simple hug or be easily convinced. It is just not what a Soulsborne game would've let us experience, but... honestly, he has not only huge muscles, but also a huge HEART. I love this combination a LOT, it pulls the richest spectrum of emotions.

Four - Malenia!

She is such a beautiful and impressive boss.... ...that I never talk about her. x) I can't quite explain how my focus works, sorry </3 She scares me a little - and it is not even her fault, but the thing that casually claimed her body, because superior deities have nothing better to do I guess :/ She is holding up very well for someone who has to live in a constant struggle with the horror plaguing her very being. And for someone having to hold up as a warrior of her dear brother's interests despite her body rotting as she goes. And having to repeat 'I am Malenia, blade of Miquella' like a mantra, since Rot is infamous to destroy the memories, and she must not forget what and who she is fighting for.

"She deserved better" is an understatement, I'd say. Her personality shines through the 'influence' that has been ruining her quite well, I'd say. She is a strong warrior, very determined, but very full of honor and love at the same time. I say this in every other post about strong Soulsborne characters, yeah. True bravery is not lack of fear but going despite fear, true power is not being callous unbreakable wall but to still hold your weapon firm through struggle and pain, true personality is what you ARE and not what you are 'not', etc etc. It is always about the feelings.

Three - Godwyn!

I could not explain why he made it to this place very well, honestly. First, he stroke my weird spider-sense intuition. I was going into Elden Ring mostly in blind, and still keep whatever I can to be revealed as I go! Thus, I did not know anything about Godwyn besides the fact that he was the golden child (metaphorically and literally) that went down as sacrifice during Night of the Black Knives as one having his soul killed. And that he used to be a lovely person. But one day, as I was playing Elden Ring and progressing casually, from nowhere, for no reason, I started to think of this character. Again, for no reason, I was thinking of the 'Deep Sea' and imagining him becoming a mermaid (?), and healing/truly dying/letting new soul grow/whatever by returning to the sea. I even started crying, and I swear, those emotions felt like they were not even mine.

It felt very random, but you can't even imagine my surprise when that same day, I just coincidentally travelled to THAT location, and found him. And, coincidentally, he was posed like this with a mermaid tail. I take weird 'intuition moments' (dreams or waking) very personally as I have many of them (and funny enough, they always have to do with the 'sea' theme). No matter how I feel about this character in the future, but the weird "foretelling", "intuition" bond fixed my attention, so yeah.

He seems like a very loveable person, though... From narration standpoint, it does make the most sense that he of all people had to suffer this way. It just would not have had the same effect if someone less likeable/innocent had to go down. It is... sad, how much of this character is his tragedy alone. But, he befriended a dragon and bridged the gap between conflicting forces, and from what I gathered losing him specifically was what broke Marika, and Mohg named his new dynasty after himself AND Godwyn. Clearly, the guy was the best thing to ever have been associated with the Golden Order, and manifesting everything good about it within his personality alone. Whenever I bash the Golden Order as inherently corrupt thing, I just always think back on Godwyn as a confirmed exception from the judgement. And, of course, he would have enough "kindness" to spread death as new form of existence... despite the fact that his 'true' self would've probably dreaded to manifest living in death of all things.

Two - Rykard

I talked about this guy since the day ONE I've picked even remote interest in Elden Ring, isn't it so? @_@ Well, I still stand by what I was talking about. Tanith is absolutely justified for being obsessed with this guy. He is like uh... Aldr1ch but executed much better, or rather, in more sympathetic light? I for one honor the narrative of a character who has the GUTS, the S P I N E to sacrifice a lot, their morals included, to just get OUT of the corrupt (!) way their world works. And I have a feeling that so does Miyazaki. x) I think it is a twisted sort of bravery that we are lucky to never experience and only perceive through fiction. But, unlike Aldr1ch, who revels in his corruption and the horrible things he has to do, Rykard, 1) has a loving family and 2) hinted to have or have had sympathetic traits and simply lost his way from.... heheh.... biting more than he could chew... xd heheh... :drum emoji because I am a comedy genius:

But, in either case, ya'll are lucky that the guy is happily married. Ya'll would not survive the intensity of my thirst otherwise. It is just my rule to not touch married characters. I still admire the guy though. Not to mention the fucking UNREAL AWESOME FUCKING DESIGN, one of the best I've seen ANYWHERE, and him having my favorite theme in entire Elden Ring. Like, it was legitimately hard to live down the crisis of him being "taken", because this guy is really loveable, both as a man and as a monster.

One - Ranni!

Honestly, I always liked the mysterious aura, the clairvoyance and the uhhh... I guess, machiavellianism of this character? "Ends justify the means" character who does some unforgivable things but believes there is no other choice, and the grander purpose is more important. But, she has so many layers. She stepped away from her mother's teachings yet still created a badass illusions to protect her and clearly loves her forever, she has trust issues but in the end needs true friends and true kindness (something even an idiot like Seluvis can see!).

You could see it hurt her to do all that, but whatever freedom could be was worth it. She is just a very complicated character, that goes above and beyond. Letting her own body be killed is badass but understandable, since her body was inextricably tied to the Golden Order, as an Empyrean. Letting her somewhat-brother who was a genuinely good and radiant and loveable person be killed? That's a bit... more drastic... And so on. Indeed, she IS like Rykard in how far she had to go, and how much she had to sacrifice, but nonetheless I uh... would not say she lost clarity of her mind like him? It is interesting how by Dante's Divine Comedy though, Herecy is associated with fire but only on 6th level, yet it is treachery that is considered to be THE sin of sins, and it is the lowest level, and associated with ice, like her element. I am thinking about this very often @_@"

-------------------------------------------

Honorable mention - Radahn!

Sorry, but I love the guy, despite lack of deep discussion (and becoming a mascot of the most toxic fans). This is ADORABLE that he learned Gravity Magic just so he could still ride Leonard. He appears to be such a goofy dumbass, wholesome person in the "wrong" way, opposing a character that is actually likeable and loyal to the things and people that arguably never deserved it?

But you know I am a huge fan of Rom Bloodb0rne, right? He gives off the exact same 'person that seizes and conceals the horrors of the cosmos from humanity, although their personality and intellect are gone' vibe. It is just... that same vibe of a "silly" character, the comic relief, that turns out to either face a tragic fate or reveals a much deeper personality. He is simple and complicated at the same time! And, well, him having been such a legendary and impressive warrior that so many people gathered just to give him honorable death. This is somewhat impressive. He was actually a very close tie with Malenia.

[wen-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

For those who are not aware, I have decided to run the gauntlet of @bengiyo’s Queer Cinema Syllabus and have officially started Unit 2: Race, Disability, and Class. The films in Unit 2 are: The Way He Looks (2014), Being 17 (2016), Naz and Maalik (2015), The Obituary of Tunde Johnson (2019), Margarita With a Straw (2014), My Beautiful Laundrette (1985), Brother to Brother (2004), and Beautiful Thing (1996)

Today I will be writing about

My Beautiful Laundrette (1985) dir. Stephen Frears

[Run Time: 1:37, Available- Amazon, Hulu, Language: English]

Summary: “An ambitious Pakistani Briton and his white boyfriend strive for success and hope when they open a glamorous laundromat.” (from IMDB)

Cast: * Daniel Day-Lewis as Johnny * Gordon Warnecke as Omar

___

Hmm. Okay so, before I get too far in to this, I feel like this film was the hardest one for me to follow from a plot standpoint (so far). There were a lot of little things happening that took a bit for me to really understand, and that caused some challenges in how I engaged with this film. I will admit at this point that this was a movie I probably need more historical context for (ie some of the political commentary in the film, the state of Britain at the point in which this film was made, etc.) but my brain is fried from life stuff, and I do not have the energy to do that research right now. 

gif by @itsmyfriendisaac

Fundamentally, I do think there is something extremely interesting in the role reversals here of the Pakistani immigrant family being the richer, more successful characters, compared to the white people in the film. And this makes sense because what I was able to get through the movie is the racism that came out of Pakistani immigrants moving to Britain, establishing lives, and then becoming the scapegoats for the suffering of poor white people (when obviously they are not the actual problem). 

Omar comes alive at the thought of getting to make something out of his life, rather than just be a caretaker for his father. A father who has become a victim to the racism and vitriol he has witnessed in Britain. A man who gave compassion, advice, care to young white boys only to see them march against him when they grew up. 

I loved the visual commentary about how women can be forgotten, every time that Nasser’s wife walked by a room, quiet, unnoticed, and soaking in all this information about Omar, Tania, and Nasser’s affair. 

I did love the visual commentary around ever looming danger. This standstill that Johnny’s old crew came to with Johnny, Omar, and the laundrette. A show of numbers, a threat of violence, that never triggered because there was no reason to do so. Johnny still had power and influence over his white friends, and that kept them quiet. But they loom. They are an ever present danger that Omar just ignores. Omar and Johnny continue to live their lives, build out the laundrette, try to achieve success despite the ever present danger. Which is as strong as a visual metaphor you can get towards existing as a part of one or more oppressed groups. 

I like that fundamentally, Omar did all of this to show his Dad that he could be successful. Because he wanted to show his father that everything he’d heard said about him by the white boys he went to school with, and by Britain were wrong. That he was successful, and he had white people working for him. And how that is only revealed when Omar and Johnny have done the work of selling coke, refurbishing the entire place, and then opening it. I like that Omar’s father does not consider his son opening this laundrette as a success, because he wants Omar to be educated. Because he understands the importance of education, and how a lack of education makes people susceptible to propaganda. I also appreciate that Omar was spared from hearing that. 

I love that Omar and Johnny’s feelings for eachother are never really disguised. Like, if you are queer, you can see from the second they are reunited that those two have almost certainly fucked before. But that good old fashioned heteronormativity is what really seems to shield them from suspicion by most people (besides Tania it seems). 

And for as brutal of a beating as it was, I did genuinely enjoy the scene both for the commentary around how no one really is ever safe. That once your former in-group decides you are now part of the out-group, you are no longer safe. And further, that Omar very adamantly, casually, and happily took care of Johnny and treated his wounds and did not let him leave because he does love Johnny. I love that the film ends with the two of them in the laundrette, with Omar kissing the back of Johnny’s neck, in front of a couple shattered windows. Why? Because for me, it speaks volumes about how Omar views his relationship to Johnny and the world. He treats Johnny rather than worrying about his laundrette, because he loves Johnny, and Johnny is hurt. The windows can be replaced. 

gif by @oscarskirt

For/By/About 

By and About 

The writer of the film is bisexual, and the main characters are queer, which puts it in a By and About Queers category. I am on the fence about the For Queer people, because again, with most of the films in Unit 2, I feel like the Race, Disability, and Class aspects of the film are more of the central voice. For My Beautiful Laundrette, the race and class aspects seem like the heavier hitters, but the reason I’m on the fence is because there are some aspects of Johnny and Omar’s relationship that aren’t verbalized that I feel like may only be picked up on (easily) by a queer audience. 

Favorite Scene 

gif by @eriklehnsherryes

I really loved the scene where Johnny and Omar are fucking in the back room while Nessan and Rachel are dancing inside the laundrette. I appreciated that it felt like it was used to highlight the legitimacy of both of their relationships/love for one another. And that both fucking (and spitting champagne in to Omar’s mouth) could be presented in a way that felt romantic because it was paralleled to a couple dancing lovingly together. 

Favorite Quote

“We must all have knowledge if we are to see what is being done to whom in this country” 

A quote said by Omar’s dad to Johnny. I like it because it addresses what I think is the core of this film. And it shows in very few words, why he ended up this way, why he wants Omar to go to college, and where his ideology and life experience lies. 

Score

8/10 

I think this film falls to the classic blunder of trying to say too many things in too short of a time. As a result, we only get glimpses in to characters, and it is harder for me to see and understand their motivations.