#but I have a mostly solid narrative that fits for me

[monty-glasses-roxy]

I looked this up cause I'd never heard of it and yeah apparently if you walk up to Moon when only one generator is on, he grabs you, visibly struggles, and then does this

To be fair, I do think the attendant has it's own thing going on, with the Balloon World arcade game and the Eclipse situation but... this does highlight something for me.

The two above ground animatronics that definitely go for the kill are the same two animatronics where you can't hear them in the mask world when in their respective areas. I believe you can hear laughter and children in Gator Golf, but you can't hear anything but ambiance in the Daycare. Moon is not in the mask world either so... yeah that's interesting.

Perhaps this is a Story Teller at play? Perhaps it's the result of Eclipse and Sunny fighting back against Glitchtrap in Moon's AI?

Interesting! Didn't know this was a thing before so thanks for pointing this out!

EDIT: You said BOTH Moon's jumpscares! Forgot! The first one is literally just grabbing Cassie I dunno if that's entirely lethal ngl

I know it's commonly accepted that the Black Rabbit in Ruin is the MXES but I'm still convinced it's Glitchtrap. It being the MXES just... doesn't make sense to me?

It's fun though if the Black Rabbit is the MXES. Everyone talks about Cassie and the MXES but Roxy was the final node. She's about as physically linked to that thing as she can get that could be a fun dynamic.

[babacontainsmultitudes]

🤔 Admittedly I was a little disappointed by the reveal (but certainly not surprised the foreshadowing was heavy in this episode lol), but not actually against how Beth (and Will) seem to be playing with it thus far- which is to say that I do think it has a lot of potential, and I suspect there's more to what we're seeing).

;) Big ol' ramble below

Mostly the theory has turned me off until now (at least insofar as I've witnessed it transpire in the fandom at large) because it struck me as so painfully ironic to see Trudy, a 1950s housewife, struggle to exist under the system that she's in, fail to fit the mold assigned to her, and be denied her personhood very literally for it (this being ironic insofar as how it mimics how she would have been treated back then). This and because frankly I just think she's a lot less interesting if she's fully a robot LOL, but I'll hopefully get to that in a bit.

Not that the hints at her mechanical nature and the relevance of Tucker's background were lost on me; I can appreciate why those would contribute to a plausible, fun and I think still mostly harmless theory (now fact). However, minus one or two specific posts I've seen on the matter (namely a recent one suggesting that if Trudy is a robot Beth is probably taking inspiration from The Stepford Wives, :( sorry person who made that post I couldn't find it I wanted to credit yoouuu), I've seen the theory just about exclusively presented in a manner that, rather than explore the metaphorical and political significance of Trudy being partially or fully mechanical, at best disregards the parts of her narrative that are at their core about sexism (among other related things), and at worst negates them entirely (i.e. Trudy only thinking and acting how she does because she's a robot malfunctioning and not because the world itself is causing harm and she rightfully wants something more than the role she was forced into, Trudy not even having any real thoughts and feelings of her own, etc.). I just think it kind of sucks to shove all those important things about her aside and say "actually, there's no person suffering here, she's just a robot" and perhaps worse yet to imply that she does have thoughts and feelings but because they result in Weird™ behavior it must be a problem with her code and not at all relate to what women were subjugated to during this point in American history.

CONVERSELY I don't think Trudy being a robot (or at least partially one) at least from what Beth and Will have presented us thus far, inherently suffers from any of these issues? First and foremost because Trudy definitely appears to possess sentience, thoughts, and emotions of her own, matters which immediately complicate her degree of personhood and don't inherently box her behavior in as a bug in her programming rather than an issue with the world she's been put in, quite the opposite in fact! I think they have a very solid groundwork laid out here to make a strong statement with Trudy's narrative (and perhaps ask the question of what is really malfunctioning here), all the more so since [I pull out a Rebecca Swallows-style conspiracy board] I don't think she's entirely robotic in nature? Actually you should just read Mack's tags in this post cause he has great thoughts on the matter (of which those are just some of them), but if I can direct your attention to one thing in particular, it would be Beth's fact (I *believe* from episode 2) about Trudy never graduating high school because of her essay where she suggested that "perhaps women could one day domesticate themselves", a statement that could of course be interpreted a number of ways but ultimately threatened the patriarchal status quo enough (in suggesting women's independence) to cost Trudy her diploma. Taken on its own this fact appears to contradict the theory that Trudy has always been robotic in nature, because it doesn't really make sense that Trudy would have been set up to go through high school (or school at all really) when Tucker's intention was/is for her to be the perfect housewife. You may then suggest that Trudy's memories of this are fabricated and not actually her lived experiences, in which case firstly perhaps you should reread my earlier point on the robot theory being used to actively negate and otherwise disregard the portions of Trudy's narrative that pertain to sexism and feminism, and secondly it really doesn't make any sense to me that Tucker would implant those kind of memories into Trudy's brain? To be completely honest if she's been a robot from the very beginning (rather than someone who became a cyborg, which is what I'm trying to suggest here), then I don't see why Tucker would program her with actual sentience in the first place (suspending my disbelief here with regards to the possibility of programming sentience to begin with). It seems much more likely to me then that Trudy was not always a robot, and instead altered by Tucker to force her into a role of subordination and remedy her """imperfections""". This option is significantly more interesting to me one, because it implies that Trudy has actually lived a life up until the present, full of its own complexities and strife (and dreams, and real actual memories worth exploring, etc.), and hence is not by any means "just a robot", and second because it amplifies the hypothetical statement being made on the lives of the real living women of the era and how they were treated and seen as being "in need of fixing" for not conforming to gender roles or otherwise acting "out of line" with what was expected of them.

OKAY THIS GOT OUT OF HAND SO I'M CUTTING MYSELF OFF HERE but I wanted to my share my current thoughts what with this ending and where I'm at so hopefully that was at least interesting to whoever has chosen to read through this one okay thank you byyyyyyyyye~

[blorger]

The Great Longbottom Bully chronicles: friendly fire edition

What started as a humble Draco stan's attempt to re-evaluate his involvement with the oft-bullied Neville has quickly become a sentient behemoth of epic proportions (see: pt.1 & pt.2).

In this section, I will examine the unkind ways in which Neville is treated, both by the narration and by his own friends.

It came from inside the house (if by "house" we mean the author)

I always felt like, in the first books, Neville is treated rather callously in order to fit the stereotype of the go-to comic relief guy, but I was never able to articulate just why I felt this way. As I went though the books for the purpose of this exercise, I paid close attention the language used to portray him, starting with his physical description.

It's well documented that JKR uses fatness as a visual shorthand for a character's failings: from Vernon and Dudley Dursley all the way to Peter Pettigrew, her fat characters are portrayed as either comedically evil or somewhat pathetic (and sometimes both). The plus-size character she is perhaps kindest to is Molly Weasley and even then her fatness is used to place her in the archetype of the Mama Bear. In keeping with this theme - wherein a character can't just be fat because sometimes people are fat - one of the characters that gets this treatment is Neville, and it's done in order for him to better fit the stereotype of the clumsy oaf.

Up until the sixth book Neville is described as round faced and pudgy. He doesn't sit, he heaves himself, and in doing so he squashes things, often to comedic effect. Neville is clumsy and uncoordinated and his fatness is used in conjunction with that to really drive the point that he's not to be taken seriously home.

We can also see the role Neville is meant to play in the story by the way his emotions are portrayed: Neville spends his first 4 years at Hogwarts in a constant state of comically exaggerated fear.

I tried cataloguing all the descriptors used to indicate Neville's tone and I had to give up in shame because JKR seems to have gone ham on the thesaurus in order to signal Neville's anxiousness and timidity in increasingly creative ways; nevertheless here's some interesting factoids:

the verb used most often to describe Neville's tone is squeak (by a large margin) followed by choke, sob and moan.

Neville's most common state of mind is frightened - he speaks fearfully, he cowers, he is terrified - followed closely by sad - he speaks miserably, tearfully, unhappily - and anxious - he is jumpy, nervous, tremulous; he is twice "close to a nervous collapse".

When the narrative shifts to a more serious tone, around book 4, we see a sudden drop in the usage of these descriptors. As Neville's role in the story becomes more important, we notice the disappearance of what were once the hallmarks of his personality. All of a sudden, Neville is no longer forgetful and clumsy as apparently those traits cannot coexist with his new heroic persona (Neville 2.0. if you will). I would call this character growth if Neville retained at least some if his previous mannerisms; as it stands Neville's growth ends up reading more like a personality transplant (not unlike what happens to Ginny).

We can also observe this shift in character by the way his friends and peers interact with him, which brings me to the next section:

With friends like these, who needs enemies?

HARRY POTTER

Harry is generally kind to Neville but the way his kindness is presented often reads like condescension:

(PS, Neville tries to do Harry a solid and ends up joining him in detention)

Prior to OotP, their conversations are often superficial in nature and very short. Additionally, Harry does not seem to want to hang out with Neville a whole lot and often goes out of his way to avoid him.

(PS, Harry would like to learn wingardium leviosa without Neville, thanks)

It must be noted that, since the books are mostly told from Harry's point of view, many of the uncharitable descriptors used for Neville could also be attributed to Harry. It's an assessment I somewhat disagree with since the language Harry uses in his (explicitly stated and delineated) thoughts is often less harsh than the narration's.

BONUS HARRY WTF:

(from PoA, Harry is imagining how Sirius must have killed poor poor Peter)

This is one of those Harry remarks that kind of straddles the line between genuine character assessment and authorial dickishness. At this point in the story Harry doesn't know that Peter is a traitor and a murderer so, by imagining him to be Neville-like, Harry lets us infer that they are both to be seen as hapless and bumbling individuals. JKR does know who Peter really is, though, and she makes the deliberate choice of comparing the two.

RON WEASLEY

Ronald Bilius Weasley is not exactly known for his tact, there's no two ways about it. Furthermore, as our everyman character, it often falls on him to illustrate the status quo with his observations. From Ron we get gems such as:

(from PS)

+ BONUS HARRY

(Harry's corresponding nightmare in PoA)

The thought of Neville Longbottom on a broom strikes fear in the hearts of many, it seems. Neville's accident in PS's flying lesson and the ensuing chaos seem to be a core memory for the Gryffindors.

(CoS, Ron tries to make Hermione feel better about her muggleborn status by putting Neville down)

This sentence is important because it helps establish Neville's role among his peers. Not only it seems to be a universally acknowledged fact that Neville is hopeless at magic, it is socially acceptable for his classmates to say so.

and

(GoF, Ron makes sure we're aware that Neville is on the lowest rung of the Hogwarts social ladder)

This scene serves a dual purpose: yes, Ron is once again indicating that we're supposed to infer that Neville is an uggo and a loser, but he's doing so because he's secretly miffed that Hermione has someone to go to the Yule Ball with that isn't him. Ron contains multitudes.

(PS, Neville tries to enforce curfew, the golden trio has no time for rules, Snape is up to evil!)

I put this scene last, despite it occurring during PS, because it perfectly encapsulates what seems to be the general Gryffindor attitude towards Neville during the first books: Neville may be a hopeless dullard but he's their hopeless dullard, as such Gryffindors are the only people allowed to dunk on him (because they're Gryffindors and therefore inherently Good). Speaking of which:

GRYFFINDORS

Here's more excerpts that plainly show just what Neville's place among his fellow Gryffindors is:

(PS, Draco just cursed Neville)

This incident is treated as funny by everyone except Hermione (you go girl). The only problem Harry & co. seem to really have with what happened is that it's Malfoy who did the cursing, again letting us know that when a malicious act comes from a Gryffindor it's funny and also a prank but when it comes from a Slytherin it's bullying (here's a novel idea: why not both?).

and

(OotP, the twins are such pranksters LOL ROFLMAO)

See? It's ok if the mean-spirited joke comes from a Good Guy, why, Neville even joins in the laughter! How often must have this happened to Neville for him to have learned to laugh the embarrassment away? I wouldn't put such a big emphasis on this type of friendly fire if it happened in the context of a solid friendship based on mutual respect, but what we actually see in the books is that these "pranks" happen to Neville whilst he's still treated as somewhat of an outsider. These instances happen before the introduction of Neville 2.0 (now with more courage!), not after.

Just like with his gran's (and Snape's) bullying, both the language used to describe Neville and the opinion of his peers change completely once Neville 2.0 drops. From book 6 onward Neville is part of the hero squad and thus he can no longer be subject to ridicule. Up until then, though, we are clearly meant to laugh at Neville's expense and call me a party pooper but I find this to be rather mean spirited.

To cleanse our palates, I'd like to add a bonus section:

⭐️ The congratulatory gold star award for being a Decent Person ⭐️

This award goes to Hermione Jean Granger who, despite not being exactly known for her tact and delicacy, manages to constantly treat Neville with kindness and compassion, especially when he needs it the most:

and

(GoF, Barty Crouch jr. has just traumatized Neville by showing him the curse that ruined his parents' minds forever)

You go girl, and thank you for your service.

[swordandscytheandpen]

Finished Guide. I have thoughts.

Mostly positive ones. I have nitpicks, sure, but it's damn near impossible to write a fully satisfying resolution to a three million word story. EE did an insanely good job considering.

Akua was one of the highlights, of course. Her arc was indeed probably the single best redemption story I've ever seen. The pivot in Praes, in particular, was amazingly compelling ("why was she not hearing the song?" hit me HARD). @kvothbloodless once responded to my tags while I was in the middle of Book 2, assuaging my skepticism that a character as remarkably hateable as Akua could have a well-executed redemption arc, and I gotta say her confidence was well-placed. It's a testament to EE's character writing skills that a character who is not only morally monstrous but immensely personally unlikeable could be turned around like this. I'll make fun of Guide's length, of course, but I don't think an arc like this could be handled so well in a work of reasonable length. It's a strength both of the writer and the medium, I suppose.

Her final fate, like most of the cast's, was a pretty solid conclusion to her character arc as well. Really followed through on the narrative's refusal to entertain redemption through death, while still being a surprise, unlike the whole Dead-King's-jailor thing. The dynamics of that particular fate on her character had already been explored through her and Cat's thoughts several times, so it's nice to see something different, instead of just watching the original plan play out with rings instead of a crown.

Same goes for a lot of the other characters. Viv and Indrani had excellent conclusions. Masego and Hakram I'm not dissatisfied with, though I do have minor points of umbrage. Hakram's arc might just have gone past me a little bit; I feel that if he has to be tied so tightly to the Clans as a whole he really needed more foreshadowing connecting him to his home. Instead, it felt a little bit like a family-conquers-all story shoved in with only justification in the moment, which ain't really my cup of tea. More specifically, it felt like the narrative required him to have deeply-held goals that he could go be independent about, but forgot to actually touch on those goals until he'd already left Catherine. Still, just a mild disappointment.

Then we've got Masego, and my take on him is similar in that it's broadly satisfying but I just feel like it doesn't fit in certain ways. In his case, it's mostly the apotheosis: the edges of that particular puzzle piece seem rough, as if EE had something else in mind but swapped it out relatively late in the process. There was some hinting that his dream of godhead would result in conflict with Cat, and then they just... didn't do that. Then in the epilogues, it really seems like his apotheosis hadn't made much impact on who he is or what he does. His part of the epilogue would have been just as suitable, to my eyes, if he hadn't achieved that. So it fell flat a little bit, which took some of the wind out of his ending. Everything else about him was great though.

Catherine's ending took the longest for me to think through. At first I was a bit ambivalent about it, 'cause it felt like nothing was really subverted. Minus a few hiccups, she got everything she wanted. Cardinal. The Liesse Accords. Even all the Woe surviving. The only thing she didn't get was Akua, and she already knew that wasn't on the table. I really just did not expect a straightforward Catherine Wins ending to the Guide. I thought she'd probably die at least; in fact, I thought the most likely outcome was Cat's death and her goals being posthumously realized! This story sure felt like a tragic ending was coming down the pipes!

And then once again, I remembered that this is a story about stories. What Cat has isn't just a happy ending, it's one last victory over the narrative. It's a middle finger to the idea that villains don't get to sail off into the sunset. And you know, it really takes some strength to put a fresh coat of paint on the very idea of a happy ending. So yeah, Cat's ending is great. Just perfect.

But of course, there's no way to wrap up three million words while satisfying every single plot point. So, keeping in mind that APGTE is probably among my top 5 written works in the English language now, I do have a point or two of order.

First off, towards the end, Named were dying like flies. Felt like every chapter had a list of casualties all its own. And I can see the drive to do that; there were a lot of Named involved by that point and there had to be casualties. It keeps the stakes high and the villains scary. But I can't help but feel discouraged from reading once six characters I'm somewhat engaged with die in the span of two chapters. Mostly offscreen.

The biggest offender here was the Painted Knife's band. I really loved the bonus chapter about their backstories, as well as the concept of them as the first band containing both heroes and villains, and I'd wish we'd seen nore of how that relationship developed. And I thought it was a weighty enough label that they'd shot up again later. So when it was mentioned offhand that the Royal Conjurer was killed, I was blindsided a little bit. And then the rest died, one by one, offscreen (except the Knife). Poor Poisoner. She was my favorite. Felt like wasted potential, like a story that wasn't followed through to the end. The Blade of Mercy was in a similar boat. He was important in the Arsenal arc! Let him die onscreen at least!

There was Roland too, who wasn't as bad. His death wasn't really satisfying, another surprise Hawk casualty, but at least it was shown and meaningful. Still, I feel like he deserved a proper character arc outside his backstory. Poor guy.

A couple other deaths, too: Rafaella and Alexis in the fight against the Dead King. Rafaella was ambiguous enough that I really wasn't sure whether she was dead for a while, and even after... I dunno. The hero who killed Captain needed a stronger resolution than "sacrificed herself to get rid of the Dead King's last line of revenants." Then Alexis's death just wasn't meaningful; it wasn't for anything. And I know, I know, that's not how death works, but it is in stories! Didn't feel right. It was too fast.

But the Keter deaths were really my biggest gripe, and if that's the biggest problem I have with a conclusion to a story that long? I can only offer applause.

You know what death I didn't have a problem with? Hanno, in the epilogue. How the hell do you kill a character that major in just a few sentences and make it feel satisfying? The epilogues were just all-around great. The character deaths and resolutions felt natural, plot points that were touched on in the main story were shown to ultimately be left to the next generation, and the continued history and development of the world made it feel so alive. It's a common sin for characters to create a new static world that's supposed to feel like it'll last forever. And sure, the framework of the Accords are kinda like that, but the rest of the world? There are still wars, still conflicts, still upheavals. (The Republic of Orense was a nice touch in that regard.) The epilogues are nearly flawless and I will stand by that.

Last thing - of course I gotta talk about Anaxares. When Yara dropped him into the Serenity, I was pretty hyped about it. But then... I dunno. It turned out a bit flat. Felt less like the culmination of Anaxares's character and more like a plot device to cross the Serenity out of the equation. At the end of the day, with Anaxares sitting in the Serenity through the final battle and then appearing in the epilogues just to pop up years in the future, cause problems, and run off again, he felt weirdly like a sequel hook? And forgive me, but I'd eat my hat if there's a sequel. I guess it's imagination bait, which is certainly preferable to a poorly-executed conclusion. He's still my favorite non-Cat character. If there's any decent fic about him, please give it.

Speaking of, that's all I've got. Looking back up, this was mostly petty complaints, but I wanna be clear: once the first few books were past and EE broke their worst writing habits, this became one of my favorite writing pieces ever. The length and the proliferation of typos and other errors mean that I'd hesitate to fullthroatedly recommend it to anyone, but it's one of those works that has permanently altered my brain. Good fucking book.

Okay, Pale Lights time. Hopefully I'll catch up before Book 3 comes to an end, but I'm not gonna rush. Rapidly chewing through ridiculously long works is not, I have learned, conducive to getting the most enjoyment out of them.

[inkingthingsintotrees]

so, like, the bitter middle-class character is showing up more and people are not registering it?

I recently watched a video essay how Saltburn mostly falls short due to its inability to actually properly criticize class, and it got me thinking about the whole kerfuffle that happened with D20 fans about Fantasy High: Junior Year and specifically Kipperlily CopperKettle. Then, I finally got into Yellow Face by R.F. Kuang and saw the same character archetype in the narrator.

When I say the 'bitter middle-class' character I mean the type of character that is not extrodinary by any standards and blames any possible external factors for what they view as a 'failing'. Here's what I mean in narrative context: Oliver covets the type of social life and charisma Felix has and fixates on the wealth that Felix comes from as the source(Saltburn), Kipperlily thinks Riz's dad dying is an unfair advantage actually its pretty fair to assume she thinks all the heinous shit the Bad Kids had to deal with regularly were unfair advantages that gained them prestige they didn't earn through 'hard work' like she did(Fantasy High/D20), Juniper Hayward blames diversity and diverse stories as a whole as to why she has found no success as a white author in publishing compared to her 'friend' Athena who has found massive success through her writing (Yellow Face).

The three of them are meant to be wrong in the end because they were lashing out at those a flawed system chose to champion. But there's some block on really digesting these characters as being part of the 'bitter middle-class' and I can't tell if it's cuz so many people who consume this media are from the middle class or cuz people can't look deeper than the surface when it comes to the media that they consume.

In the case of Saltburn I can only assume that it was because Fennel doesn't know how to write anything that's particularly class-conscious and tried to dress the movie up at the very end like a thriller eat the rich film. The ending of the film really hurts it in the end, and I have trouble believing that it was properly workshopped to actually fit with the rest of the story. I have seen so many people take Oliver's final monologue and run with it, though. Either people use the closing monologue to condemn the way the film fails at being a class commentary, or they explain away the shortcoming with the argument of the film is that it is an upper-class horror story about the middle and lower class. But neither interpretation really acknowledges that Oliver as a character lied for attention both from Felix and his family but Oliver's parents as well (sure some of what they say is likely true but there is a good chance a decent amount of the information he feeds his parents is not the truth). Oliver spends 3/4 of the movie bitter about being mediocre in comparison to those around him at Oxford. Through his own perspective, he is putting in work that his peers can omit because of their wealth and Oliver's inability to be significant socially amplifies that bitterness. To Oliver there is only two ways to be 'interesting' at Oxford and that's to be rich and cultured or poor and traumatized.

Kipperlilly Copperkettle is real interesting just from a solid fandom perspective for me. So many fucking D20ers complained about the lack of redemption of any of the Rat Grinders but especially Kippers despite the fact that she's the one with the foulest mindset. Girl, you cannot be complaining about how people with dead parents get a leg up in life and expect any sort of sympathy. She's probably the best demonstration of this character archetype (would you call it archetype?) simply because Kipperlilly is just so deeply out of touch with reality. She's mad that the way she specifically approached adventuring doesn't get rewarded in the type of world that she's in and on top of that there is nothing else to make her standout amongst the crowd of other decent adventurers. Except Copperkettle Fourdogs is also one of those middle-of-the-road kids that's incredibly upset that none of their work will ever be recognized because it simply does not hold a candle to what other people are doing. I think this is why she got the amount of sympathy that she did from certain parts of the fandom too, a lot of y'all saw yourselves in her huh? Because it is a flawed system to be like: if you show up and do the work then you'll be acknowledged, and then turn around and require more because now everybody's done the work so who really deserves it now? But the way Kippers handled that by lashing out at some of the most traumatized kids in school not even about shit that happened while they were at school and being menaces but rather something that happened way before the Bad Kids were even a party is insane and out of touch. And sure you sort of see the work being put in by Jawbone to change that mindset but Kipperlilly doesn't care. She willingly accepts the rage in order to better dominate this group of kids she believes coasted into saving the world several times.

I forgot where I was going with this outside of : There is more than just eat the rich and wrongfully outraged rich people narratives when it comes to class, and I feel like this ignoring of a whole like a subgenre of narratives involving the bitterness surrounding what society deems worthy of interest.

Jesus Christ this is long I commend you if you got this far and didn't think I sounded like a total idiot because I definitly think that I sound like one at this point

[enlitment]

Do you have any book/movie/podcast recs for entering the frevblr Fandom? I'm very into marie Antoinette, but I want to dive into the rest of it

Hi, thanks for the ask!

Marie Antoinette is an interesting gateway to frevblr, as she tends to be quite unpopular here. But I'm certain that if your interest in her runs deeper than an appreciation for the glamour and aesthetic, you'll fit right in!

MOVIES

I myself started with watching La Révolution française (1989). The movie has been criticised a lot here, and for good reasons, but I still think it works well as an introduction, as long as you don't treat it as the literal truth.

Plus, finding differences between the movie and a more accurate historical interpretations is, at least for me, part of the fun! You can watch it here. I would definitely recommend watching the second part with subtitles, as @saint-jussy points out some of the movies... biases as the scenes play out.

There are certainly better movies to watch though. La Terreur et la Vertu is one of them. It has been recommended to me by people on frevblr (@nesiacha I'm pretty sure?), and I'm definitely more than happy to pass the recommendation on!

There's also the Danton (1983) movie, but I'd personally recommend to go straight to the source and read Stanisława Przybyszewska's The Danton Case (and Thermidor, if you find yourself liking her style!). It feels different from the more contemporary plays, but I personally think it's great! It also covers the period of the Revolution I'm personally most invested in (1793 and especially pre-Thermidor 1794).

Oh, and if you're not put off by old movies, I have watched the 1927 Napoleon and thought it was really spectacular! It focuses mostly on Napoleon obviously, but you get to see the revolutionaries as well, in a way that is now rarely portrayed on the big screen.

PODCASTS

When it comes to podcasts, there's one called Revolutions which covers the French Revolution in great detail, but I haven't listened to all the episodes myself yet. It's not always perfectly accurate but I think you can see that a lot of work went into it.

I'd usually recommend BBC's In Our Time as a solid starting point for any topic you might be interested in. They bring on academics that specialise in that topic and often have great discussions. That said, if there's one thing I've learnt this year, it's that the French Revolution and the BBC don't really mix...

BOOKS

As for books, Twelve who ruled by R. R. Palmer is a classic! It helps to show how the evil all-powerful dictator Robespierre narrative is very much a myth.

I have also read Scurr's biography of Robespierre as well, but I feel like I'd risk being thrown to the Luxembourg if I recommend it to anyone. It's a fun read but Scurr's approach to historiography is often... let's say lax and a bit too creative a lot of the times. McPhee's Robespierre: A Revolutionary Life is meant to be much better, but I'm sadly yet to read it!

I also loved Marat's biography - Jean Paul Marat: Tribune of the French Revolution! I love a good biography and Marat is such an interesting and important figure for the revolution.

That said, if you are looking for books to read, @saintjustitude already put together a great list here!

Hope this helps, and welcome!✨

(if anyone feels like adding things to this feel free to reblog!)

[doodle-girl]

The Monsters of Eastridge: DOAI Playlist

Description: At this point, might as well make a playlist for everything. Welcome to my own personal demon-filled hell, this is mostly based on lyrics, vibes, or both 🎃 (Edit: Due to recent fixations, this now also includes some Sitcom AU stuff.)

(Yeah this is made mostly for @spookmuth but also just anyone else who’s interested in my music taste/how my thoughts work. Will update the post whenever the playlist updates, have fun! Also footnotes will be in brackets because I like footnotes)

Edit: Now on spotify! Courtesy of @witheredallium <3

“Happy Face” by Jagwar Twin [I have had an animatic for this jangling around my brain for actual several months oh my god]

“Turn the Lights Off” by Tally Hall

“A1 - It’s just a burning memory” by The Caretaker [Yeah idk how well this actually fits since it’s based on a song from like. The 30s. But I think it’s obligatory for any analog horror ever lol]

"I Can't Decide" by The Scissor Sisters [This one I got inspo from havoc-bloom's playlist/clip of Pastra finding it. A few of these are, actually, lol] [Edit: I have now realized just how well this fits Clyde in the sitcom au and I am once again plagued by art ideas 👀]

"I'M Sane" by Axie [Me when I torture the innocent with horrid monsters and become one myself. but I'm a little silly about it teehee~ 😜]

"The Circus" by Toby Fox [This popped up on shuffle when I was drawing Clyde once and my brain refused to let go of the vibes™ ever since]

"Animal Cannibal (Possibly in Michigan)" by Buckshot Princess [I would've put the one by Karen Skladany but it's not on apple music 😔 sad. This cover's really nice tho]

"The Dismemberment Song" by Blue Kid [Same reasoning as "I'M Sane," nyehehe. Also this song really feels like it's ripped out of a musical number. If you told me it was I'd believe you.]

"The Mind Electric" by Miracle Musical

"Horror Show" by K-Modo [You ever just. Think about why Lankmann does the things he did? Like what's his game here?]

"Dance of Corpse (feat. Hatsune Miku)" by Kikuo [this might also spiral into an animatic lol. Anyway do me a solid and go look up the music video, turn on the official english subtitles and come back to me.]

"The Nowhere King" by The Centaurworld Cast

"Nothing Changes" by Jewelle Blackman, Yvette Gonzalez-Nacer, and Kay Trinidad [this musical makes me feel. so many things. And I just think the vibes/lyrics of "why try when you'll only end in misery" might fall into the category of vibes here idk idk]

"Murders" by Miracle Musical

"Kitchen Fork" by Jack Conte [I don't remember exactly why I put this here rn but I just know this is an Alex song. It's so beautifully haunting and passionate stg] [Edit: yeah definitely an Alex song]

"Meet Me in the Woods" by Lord Huron ['kay I know the vibes are probably off but look at the lyrics and tell me it shouldn't go here]

"A Crow's Trial" by Vane Lily [Look man I can’t explain this one exactly but just trust me on it]

"You're F****d" by Ylvis [Yeah I put this one here as a joke song. Every single character in here is SO doomed by the narrative, I'm sorry Alex but it's true. teehee~]

"UNCANNY / ft. KAFU" by kian [I actually couldn't find this one on apple music but galactinqq was right about this being an Alex song and I'm putting it on the post]

"Raising the Dead!" by Jessica Law [Styx, you madlad, this is SUCH a Lankmann song oh my god]

“Hymn for a Scarecrow” by Tally Hall [“Simon isn’t even in the series yet, though” My guy it’s called Hymn for a Scarecrow and it’s Tally Hall what else do you want me to do. I love Simon so much I miss him already <3]

“Break My Mind” by DAGames

“In the Mood” by Glenn Miller [this one was in Vol 1! So I found it and I’m putting it here <3]

“Pictures” by Kyle Allen Music [I mean technically the series is videos but whatever. This song fits sue me]

“Ruler of Everything” by Tally Hall [I saw the words “mechanical hands” on a DOAI fanart once and it jumpstarted an idea that refuses to leave me. Turns out it fits VERY well holy crap]

"I'll Be There for You (Theme from Friends)" by The Rembrandts [shoutout to froggydrawz's own sitcom AU playlist for more material for me eheheheh ✌️ I'll be putting a few of those here]

"I'm Still Standing" by Taron Egerton [sitcom exclusive because canon Alex is fucking dead /lh]

"Digital Silence" by Peter McPoland

"How Far We've Come" by Matchbox Twenty [another sitcom one nyehehehe. This AU has me by a chokehold unlike any other AU I've been into istg]

"Who is She (Reprise)" by Kimiko Glenn [I apologize for those who came here for a normie-ass DOAI playlist, I promise it started out that way but y'know that's fixations for ya. Anyways I added this one on a whim because it gave off veldigun!Alex AU vibes. Might fit with other stuff idk do with that what you will ¯\_(ツ)_/¯]

"Soft Bitch" by Rio Romeo [pretty sure it was spookmuth that made a sitcom AU art inspired by this song and I love it]

"Runaway" by AURORA [secret-spirit if you see this at all just know this was your doing (/pos). This is like, my favorite AURORA song and seeing you do an Alex art in the whiteboard to this song sparked a primal "holy shit" moment in me]

"Lose Control" by Teddy Swims [I was doodling in the DOAI whiteboard when my mamá started playing this in the other room and my brain immediately went "oh my god what if Clyde and Winfrey"]

"Soft Apocalypse" by Charming Disaster [Once again, everybody give it up for Styx's music taste, this is making my brainworms go mad with art ideas 👏👏👏 sitcom AU song, btw]

Side note, might hit a word limit here? So Imma have to continue this list in a reblog, just look through those for more if ya want✌️

[thatscarletflycatcher]

Top 5 movies set in the present and top 5 period films :)

Hi!!! I got this ask and forgot every movie I have ever loved (and will probably remember them all as soon as I hit post). It also reminded me painfully of how inadequate my cinephile culture is; there are so many classics that I'm almost certain I will love if I watch them and that would deserve the spotlight so much!

So let's make these lists about interesting movies that I think are good as movies, and not think much if they are truly The BestTM. I'm also omitting Austen and other adaptations I already talk too much about.

"Contemporary films" (set in the present is a complicated concept. I'm picking them as "the narrative happens sometime contemporary to the movie's original release date"):

5. Music & Lyrics (2007):

This is technically a romantic comedy, but its strength relies on its love for music, its humor about the music industry, and a take on 80s nostalgia that is neither surrendered idealization nor complete mockery. It's one of the few movies where I actually like Hugh Grant, and the score is so well done! My one gripe really is that I think the movie would have been so much better if the leads have remained platonic? Sometimes I like to pretend they did.

4. Dead Man Walking (1995):

This is one of those serious, controversial movies professors pick for university discussions, in this case, the one about the death penalty. The movie tries (and I believe succeeds) to address without "solving" or dismissing the relationship between our horror at heinous crimes, justice for the victims and their pain, and the value of all human lives. Susan Sarandon is as always majestic in this one.

3. National Treasure (2004):

Tumblr loves National Treasure, but I love it specifically because to me it somehow captures the thrill, the exotic mystery (without gross Orientalization!) AND the nonsense of a classic Jules Verne novel -and Verne was one of the staples of my childhood- in a way that no Verne movie adaptation I have ever watched manages to capture.

2. State of Play (2009):

This one is mostly an excuse to cheat, because while the movie is a very solid political thriller (you know, one of those "you might enjoy even if you are not a fan of the genre), the original British TV series it is adapting is better. And both have great casts (Russell Crowe is probably more solid than Cal Macaffrey on the same role, but David Morrissey does a much better job than Ben Affleck. So, it goes both ways, you see).

Hot Fuzz (2007):

I have heard this one being called "the most intelligent stupid comedy ever made", and honestly, fitting description. I have joked before about this being my comfort movie and how funny that is because it is the gory story of a police officer being kicked out of his beloved job and sent into a town where everyone mocks and gaslights him and then the back end of the movie is a non-stop action sequence... but, listen, it is funny, it is, somehow, heart warming, you can tell everyone is having a ball, the editing is amazing, the pacing is just right, so many set ups and they all pay off, the story is satisfying, the characters -specially the main lead- are likeable, and their arcs also satisfying.

Period films:

5. Oscar (1991):

This is a very silly comedy set in the 30s, adapted from a play and you can tell, but it is a riot, and in my opinion one of the best Stallone roles ever. It makes me wish he had done more comedies in this style. It also has the always charming Marisa Tomei and the always welcome Tim Curry.

4. The Englishman Who Went Up a Hill But Came Down a Mountain (1995)

Another instance of a movie where Hugh Grant does not annoy me, it's basically what says in the tin and the right kind of thing if you enjoy the typical British period drama of beautiful landscape, small town shenanigans and restrained romance.

3. The Mask of Zorro (1998):

Much of what I said about National Treasure applies here, except that it is not at all silly, and it has many moments of great pathos besides being a really good adventure/superhero movie.

2. To Walk Invisible (2016):

This is a biopic of the Brontë sisters, just covering their peak years of authorial activity, to trace a portrait of their personalities and life situation. While my knowledge of Bronteana is not super extensive, from the little I have read of them in general, plus Elizabeth Gaskell's The Life of Charlotte Brontë, I feel like this was carefully and lovingly done, without heavy editorializing or overdramatization (I'm staring at you, Emily (2022)), or pitting the sisters against each other. There's a scene of Emily reciting her poetry to Anne in the moors that just got me in the feels.

Master and Commander: the Far Side of the World (2003)

There are few genres I'm as disinterested in as war epics, and few movies I love as much as I love Master and Commander.

It was harmed by coming out the same year as The Lord of the Rings: The Return of the King, but it is, and what I'm going to say will sound blasphemous to some, the better movie of the two. It is a war epic, and a slice of life film. It's the story of a friendship between two very different men and the tensions their personalities and job at sea bring. The cast is top notch, down to child actors. Some of the production details are insane. They made rope specifically for this film because the way modern rope is turned doesn't fit well with old rigging techniques. The cast spent many days together at sea learning the basics of how to manage the ship and work in their ranks and the way sailors and officers would relate to each other. The immersion this all creates is also insane. The sound design was marvelous as well, and the score truly inspired (I want to kiss the person who picked Fantasia on a Theme by Thomas Tallis as one of the main features of a 2000s movie adapting a 20th century novel about the Napoleonic Wars, the same way 19th-20th century Ralph Vaughan Williams picked up a tune by a 16th century composer to do his thing, to establish this thematic connection between past and present and the ways we look at and make History).

If you watch only one movie on this list, watch this one. It's worth it.

Ask me my top5/top10 anything!

[menlove]

I don't know if somebody already asked you, but what do you think ACTUALLY happened in India?

in myyyy opinion I honestly don't think anything major happened 😭 I have a Couple Reasons and it's mostly bc I'm a "they were fucking the whole time" truther, but I can see where people that view paul as being repressed & rejecting john would find india as the most likely Catastrophe Spot

i'll just toss some of my thoughts under the cut fdfasf

but basically for me it just comes down to:

the Biggest shifts in their attitudes to each other seemed to have happened when brian died & the subsequent mmt disaster, when john started going all in with yoko, and finally at Some point between the rooftop concert and the abbey road sessions. none of those, to Me, line up w something major happening in india. they were already a little strained after brian/mmt & they seemed to be still at that "strained but still friends" point after india

apparently, paul & ringo leaving india early was pre-planned out. there was like an article that mentioned that they'd be leaving early before the beatles even left for india, mentioning that paul would be coming back early to deal w some business stuff. so this, to me, is a hole in the Big India Shift theory

and IF they were fucking the whole time like i personally believe (i may be crazy it's fine), i think that fits pretty well with the lil reference we get in get back. bc john blows that mic with GUSTO & paul isn't acting nervous or like someone who just got called out for ditching him after fucking him, he's just sort of giggly/flustered like john's just referencing a time they fucked that they can't talk about in front of people lmao

so for MEEE what i Actually think happened was probably just....... things getting More uncomfortable (what with john constantly getting telegrams from yoko & the fact that cyn was there and her and john were Not getting on well) & them possibly fucking but it not really being a big deal bc it was just already a thing that they did.

i Do agree with one take i saw in the general beatles fandom world that part of the reason things started to go sour for everyone after india was just that they were all sober for the first time in fucking AGES & when that happens you kind of look around at yourself, your life, and the people you're around and start questioning things. i think by that point they were all becoming highly individualized people & without the security blanket of drugs it became apparent that they'd drifted apart. not just john and paul, but all 4 of them (& cyn and jane, for john & paul respectively).

i mean i could be wrong! if i'm wrong abt paul just being closeted & them having had an acknowledged sexual relationship going on, i can see where the logic would follow that maybe something happened in india. but honestly, for me, even in that case i just don't see enough evidence of smth happening. i think it's a Good Spot for something to happen, like narratively/for fanfiction, but as far as it being like a solid theory for me i just don't really buy it? it's kind of like how for me personally i think a "good spot" for them to have a tender moment would be after the "bigger than jesus" incident, but it's not something i have evidence for or necessarily Believe, i just think narratively it would be neat. same goes for india, so like i can and do still enjoy fics/headcanons about it, i just personally don't see enough actual concrete evidence to lead me to believe in it seriously.

and this is absolutely not to shit on anyone or judge this theory at all. like i said, i can see why people get here, i just don't see it myself. and that's mostly due to my own core mclennon theories that they were fucking & paul is just a closeted bisexual lol. if people believe otherwise, that's totally fine! keep on theorizing and having a blast yk

[susandsnell]

For the character ask game 4; 8; 21 for Daniel Molloy and 10; 20 for Madeleine Eparvier? If that's too many, just pick which ones you're most interested in obviously :)

Hi anon! Finally sitting down to do these. Thank you for your patience with this, and double thank you for being the first person to ask me things about that old man and that spectacular queen. Let's go! I'll put it under the cut because boy I'm about to get long-winded -- I blame you for giving me so much to work with!

CHARACTER ASK GAME!!! 💫

Daniel Molloy

4. If you could put this character in any other media, be it a book, a movie, anything, what would you put them in?

You do not want to know the crossovers I've envisioned for this old man. Because of his meta role as the narrator, the messenger, and the archivist of the story, he fits surprisingly well into so many other pieces of media with the premise "what if he was the one investigating/interviewing the survivor". There are many other vampires I'd like him to interview (especially the ones from Tanz Der Vampire), and I'd love to see how a younger Daniel would fare in Fright Night (we all know how The Lost Boys would end for him..). But mostly, final girl that he is, I think he'd rock it in other horror media; the thing that has plagued him and enthralled him all his life. The thing he has begged for and run from. I wonder if The Ring's Rachel Keller was a former student or colleague of his, and if she'd enlist his help with respect to breaking the story on cursed video tapes. I want to see him in a Se7en or Longlegs type of neonoir slasher, sticking his nose where it doesn't belong, and yet coming through when it counts. I think that I would want to personally beat him to death myself for the things he'd say to Dani Ardor (Dan to Dan communication), but he's actually proven himself to be solid at deprogramming someone subjected to intense gaslighting (and very good at ruining relationships, including those that aren't his own!), and if he can keep the insanely misogynistic comments to a minimum for more than five minutes, he might've been able to get her away from the Harga by talking sense.

And finally, in what must make me the greatest parody of myself fathomable, yes, I think Daniel Molloy should investigate and probably write the retrospective on the Black Prom of Stephen King's Carrie. I've frequently joked that for all the addiction trouble, marital and familial trouble, and insanely out of pocket offensive comments, he's a Stephen King author avatar guesting at Manderley or perhaps Wuthering Heights.

But all seriousness, you have Sue Snell, who wrote her own autobiography of the horrific and targic events for which she wound up both scapegoated and disbelieved. Given his nose for the supernatural/preternatural, Daniel would follow where that thread leads and maybe help her find some peace in the process. The two certainly have a lot in common; both did fucking horrible things as a teenager for which they later faced an insanely disproportionate retribution, both have curly hair (usually in Sue's case), both are heavily coded to be repressing queerness leading them to unfulfilling heteronormative relationships/plans for unhappy family life, both take the role of the archivist and messenger to shape the horrors they lived into a narrative - their narrative - before the world will make of it what it will. Both fell in love with their monster(s). Both are fucking SURVIVORS.

(I kind of want to write this now...)

8. What’s something the fandom does when it comes to this character that you despise?

Honestly, I don't want to rehash bad discourse from twitter, so I'll just say exaggerating his very apparent flaws to thoughtlessly trigger people in the interest of winning a morality contest in this of all franchises. On the flipside of that, reducing him to his ship with Armand -- I've been very vocal regarding how much I despise the Armand Is Alice theory, and so long as it persists I'll continue. Not because of this or that headcanon, but it's phenomenally misogynistic to erase women we haven't even seen onscreen yet for slash because eewwww no girls allowed. Like what in the circa 2007 misogynistic yaoi livejournal, TJLC ass theory are we doing here. But also because it would be terrible writing. The emotional impact of old Maniel as a character concept is that he's lived a full life, accomplished incredible things, and had relationships that were meaningful and that he also destroyed. He has these things because of Louis' rescue of him and Louis' words, and when they see each other again in 2022, the tangible impact of his great deed are written in every line on Daniel's face. I don't mind 'the Chase happened' truthers at all, but my God, you undercut everything when you suggest that it's Oops, All Armand, meaning Daniel never had a life fully lived and failings and triumphs he carries with him. You also ironically make DM less interesting by making him the only person in Daniel's life of any significance. Just. Take the character as we got him, my god.

21. If you’re a fic writer and have written for this character, what’s your favorite thing to do when you’re writing for this character? What’s something you don’t like?

I have a whole Thing about how I'm a strident feminist who somehow hitched her wagon to this geriatric misogynist, but it is a part of his very distinctive voice, so I do like to dig deep with "what's the thing a man could say that would piss me off the most", and then I run it through the canon content (since his character voice is very particular and distinct), plus some meta works with Eric Bogosian, to see if it fits, sprinkle in some Freak Shit, and bada bing bada boom, we've got our favourite asshole. It's weirdly cathartic in a way? Exorcising demons of shitty men I've dealt with or known of I guess lmao. I would say in sappier moods I like looking for the gentleness and the silver lining underneath the ten layers of Having No Limits, and when I hit on what's tender but still plausible, aka my favourite Daniel moments? No better feeling.

The flipside of this, being what I don't like, is that keeping that voice up is hard and it is a challenge to stay as sharp and ten steps ahead as he is. Need to brush up on some Columbo, I think...

Madeleine Éparvier

10. Could you be best friends with this character?

My heart would really, really, really love to say yes, but my gut and my brain say a definitive no. For one thing, while they make it very, very clear she's not a Collaborator or antisemitic in the slightest, the way her wartime affair came about and her later actions betrays an amorality in those circumstances that I probably wouldn't be able to look past, outsiders though we both may be. I'm also one for obsessive morality-related thoughts in general, so I don't think this would jell especially well with her survivalist mentality. I'm also fluent in French but it's not my first language, so that would likely get on her nerves. And while we'd share an interest in fashion and I'd commend her for her tastes in both clothes and women, I feel like she'd see me as a bootlicker for my legal education lolol.

And most importantly - Madeleine is incredibly mean. It's hot, it's funny, it's sexy, but I am profoundly oversensitive, and she would absolutely make me cry several times lmao. I don't really know if there's any character on this show I'd be able to get along with because everyone is so delightfully awful and also, you know, murderous. But that's why it's fun!

20. Which other character is the ideal best friend for this character, the amount of screentime they share doesn’t matter?

Well, Claudia is her companion and soulmate, so that's the easy answer; they complete each other in a way that no one ever quite has. Two outcasts, two people brutally mistreated in societies to which they were supposed to belong, two women carrying pain and humour and brutality and softness, and growing flowers over the corpses they leave in their wake. She is the X at the end of Claudia's long journey, the reason she doesn't leap in the fire who did not think twice about burning at her side; she is the only one who reads Claudia's diaries with permission. Claudia is her window to the wider world, her rescuer twice-over, and the only person who meets her where she is, in strangeness and violence and joy, in sucking the marrow from the bones you leave behind you.

So...'best friend' is probably a very light way of putting it lolol.

But also? I genuinely think she'd get along with Daniel. Two unapologetic amoral assholes who defiantly faced their past trauma to sacrifice themselves for the one they loved. And they both bully Armand, too!

Thank you so much for this! Apologies again for the length.

[lurkingshan]

Japanese QL Corner

PSA that I will be traveling for a bit so don't expect a round up for the next couple weeks, but some new shows will be starting when I get back, yay! Before that, though, we still have a couple things going, though I can't say it was a great week in this particular corner of bl. Both of these current airing shows are on Gaga.

Love is Better the Second Time Around

I did not much care for this week's episode, and it was disappointing to see this show's streak of excellence broken. The ideas behind what they brought into the story in this episode could have fit if they'd used them differently, but the execution was just terrible. You can't suddenly dump a new antagonist, new backstory, and new conflict in the penultimate episode of a short series and expect that to land, especially when you make all of it so complicated. Did we really need a sexually harassing cousin, an illicit photo, a disownment, a previously unheard of sister, and a rich family trying to force Iwanaga home to run their business, all at once? This was far too much Plot Stuff, most of which added little to the story and all of which there is no time to meaningfully address. And the worst part is it derailed us from the relationship repair narrative we've been on for the last month. Disappointing from a show that was so solid until this week.

My Strawberry Film

I can't believe I spent four hours of my one precious life on this slog of a drama. We ended the show as I feared we would, with everyone getting rejected, no satisfying conclusion to any aspect of the story, and a half-assed attempt at actual queer romance rep via a tortured backstory of Minami's mom and her high school friend who rejected her confession and now regrets it. I really, deeply resent that this show only allowed the dead character to have her romantic feelings finally requited, and in the end Ryo didn't even get to experience any relief or catharsis for his own, still continuing to suppress his feelings to the end. This show stayed mostly preoccupied with the het love lines to the end, and they got the vast majority of the screen time. I don't know what the writer thinks they are saying with this story, but all it says to me is that being queer is miserable and lonely for every generation and there will never be any relief. What a fucking bummer of a message and an awful note to end the Drama Shower series on.

Bonus: Silhouette of Your Voice

Sweet relief. Thanks to @my-rose-tinted-glasses I was reminded that I hadn't watched this film yet, and it's now on Viki so I finally got the chance! Adapted from the manga I Hear the Sunspot, this is the story of Kohei, a college student with a hearing disability who hires a classmate, Taichi, to take notes for him in class in exchange for bringing him daily bentos. It's such a cute story, and the two form a real friendship and then a romantic bond as they get to know each other. Kohei is reserved but kind, and he is misunderstood by most of the other students, and Taichi is bold and brash and hyper defensive of his new friend. It's not perfect--the ending was kind of weird, which @twig-tea tells me is because they did the beginning of the manga with fidelity and then just randomly jumped to the end--but it's a very pleasant way to spend 70 minutes. Recommended!

[faultlinescrew]

Spitfire, Sophia getting a better story, fucking up nazis and cool gasmasks? Sign me the fuck up i am so down for this you have no idea.

The Arrows created by @nonplatonicsubtext, and i will make more art in return for more lore on these three and Charlotte Design notes and hcs under the cut

(if any of these dont fit please feel free to disregard them :] i am just 'yes and-ing' here)

Spitfire: - I have five different designs for her i rotate through depending on how im feeling, so i went for the one that would best fit for this au - In canon shes one of the younger members of palinquin (in my hcs she is the youngest) and pretty timid, so plays more of a support role, in this shes a more a frontline fighter, so natrually, more scars - ^ and i like the idea of her getting burnt by her own powers (not canonly fireproof and all) - many thoughts about her you have no idea - having more of a spine is a good thing, but it is also causing her so much stress - went for a more assymetrical design partly for the lack of resources due to her not ending up taking any teams offer, parlty bc i thought it looked fuckin sick - very curious as to why she turned down faultline - was homeless (i belive this for a number of reasons), her and Apsis are crashing in some abandoned basement somewhere Morrigan: - I dont really have much to say, i am so hyped to watch her be rescued from her original narrative and i want to make art for it - n0brainjustvibes prowler!sophia design is so good it rewrote my brain entirely, shes ourple now - your (nonplatonicsubtexts) description for her costume was so vivid i just picked it up and threw it at the drawing software

Apsis: - Shes kinda just free real estate to do whatever with so this will be mostly hc's - Also havent given her a full costume design bc i am waiting for a more solid vibe if that makes sense - Mixed south asian/white (in the above art, at least) - May i suggest the name lila/leela - Whilst Emily and Sophia are roughly 15, shes more 18/19, and that age gap might contribute more to the gap she has with the other two - Fell out with the Merchants a while back due to petty drama and managed to avoid their aquisition into the Syndicate - Has a bit of a substance problem from that, but wont really recive any support due to the whole 'tramatised homeless young adult whos primary job is kicking the shit out of white nationalists' thing, so thems the breaks i guess - Shes just chillin

[mister-e-muss]

Backlog Report. Another month has come and gone. Surprisingly, I only have one singular game to talk about this time around.

Harvestella

This game had the unfortunate start of being announced when the Switch was already being flooded with farming simulators, so a fair amount of people wrote it off by virtue of over saturation. Those that were more interested in it mostly looked forward to it as “Final Fantasy Meets Stardew Valley.” However that comparison is mostly because people don’t play RPGs or Farm Sims, so it’s really just the first example they can list off the top of their heads. I feel like “Rune Factory x NieR x Etrian Odyssey” is a much more accurate comparison.

I’ve played a fair amount of Rune Factory, but it’s never really been an obsession for me. I’m not too deeply motivated to keep farming and greeting villagers daily for their own sake. I prefer more meat and density to my games than wide sandboxes. To that end, Harvestella fit my tastes to a tee, as it places a much higher focus on narrative compared to RF. It has a very unique take on fantasy/sci-fi fusion, and doesn’t take too long to set up its mysteries and hooks. I’m a sucker for ‘Seemingly medieval world swerves hard into science fiction’ type of stories.

As for presentation, it’s absolutely gorgeous. The environments are varied, appropriately themed, and bursting with color and personality. (Except for the places where they don’t, but that’s no purpose.)

Here are a few screenshots to illustrate:

However, there is one problem with the presentation: No Voice Acted Dialogue. Not every game needs voice acting, mind you. It’s just as much a consideration as a capped frame rate, or a pixelated art style, or cel shading. Not every game will run at 120FPS at 2160p resolution, or use Star-studded industry legends in its cast. However Harvestella is odd in that the playable characters do have voice acting, but only in battles. It hampers the cutscenes a bit because the models rely on reusable animations a lot, and without any kind of snappy voices, cutscenes can feel stiff. There’s also the shock of taking a character into battle and Wow Brakka sounds exactly Nothing like what I was reading him. It’s just odd to me because more than enough games at least use a ‘character is [blank] emotion’ type of sound bytes as extra character-specific punctuation marks. They had enough budget to give all their characters battle lines, but couldn’t extend that to include an ‘AriaShockedGasp.mp4”?

The gameplay is a little bit basic. It’s not particularly innovative in its farm sim or job-changi action rpg halves, but it is very solid, with a sizable amount of customization and a satisfying loop of rewards. Hell, there were moments where I shunted story progress entirely just to do all the sidequests I could. The bosses in particular are some highlights to me, as the unique Break system makes each and every one of them a puzzle in how to maximize damage, and when to press your advantages.

In summary, Harvestella by no means reinvents the wheel. It does, however, provide a smooth and fun ride while it lasts. It has a demo on the eShop, I highly recommend you play that and see if it hooks you.

EDIT: Oh yeah, I forgot to mention: the music kicks ass so hard.

[grievedifferent]

Do you think Miles as a character and his fate is more encapsulated in body horror or psychological horror? Like specifically what do you focus on in your portrayal, the distortion of the body or the mind? Or both?

i want to say body horror first, psychological horror second, and here's why i say that.

mostly this: miles remains pretty sane throughout his experiences, primarily getting more emotional (lots of anger) in his loggings of his journey, before ultimately accepting death — he knows he won’t live through this.

(chapter 8 note, "underground mountain")

while what he is experiencing is a psychological horror and immensely distressing, miles experiences primarily body horror … while one could argue waylon experiences psychological events combined with body horror — but miles is known best for missing fingers, he’s always being thrown, chased, or tortured, and even the fact that his model doesn’t have a head (ie is the camera basically) kind of lends itself to that idea that while he is emotionally and mentally suffering, he is definitely taking the brunt of the game physically almost right away.

it’s kind of a “one lends itself to the other” here with him, but even to the end, he is possessed and then confirmed dead (in a past and very hastily deleted tweet lol).

so, he was always meant to take it to the grave ... but he never really changes mentally at all. if anything, miles becomes more angry, more vindicated, and more determined to get to the end, even knowing he will not make it out.

though he is meant to be scared, miles only becomes more affirmed. i rely a lot on inner narratives because he writes for us, the player (as we are supposed to be miles, yet there is almost a distinct "you are controlling miles, you are not miles" vibe i get in outlast), to get to know him. he never isn’t feeling, be it emotional or physical.

(last note, chapter 8, "death of hope")

miles does progressively talk about "the static" a lot in his notes as he progresses, but i think we have to remember there's a whole supernatural meets manmade experiment type of thing happening under his feet. he's being compelled by several things: the narrative first, his own need to finish second, and the supernatural pull third ... but kind of all in conjunction together, none is more motivating than the other, they just sort of exist together.

"The static again. A patient knelt in prayer. Maybe he bought Father Martin's line of bullshit. Maybe he hears what I hear but more clearly. Maybe it's his way out of this place. The Priest called it the Gospel of Sand."

"So much blood in the water I can smell it. Like putting a penny in your mouth when you were a kid. The whispers are making more sense, I'm looking for static. It's like an itch." <- the whispers he's hearing are from the morphogenic engine, which has its wiki article linked!

miles is being also compelled as the new host (despite dying at the end), he is made to make it "to the end" ... but waylon is the survivor, ironically working right beneath miles the whole time, even the whole reason miles is there.

ultimately, miles is truly one of those horror protags that, while he experiences so much mentally, he really is the "take the hits" kind of guy, if that makes sense? he is brutalized ... and even content was removed that was considered too brutal, so miles was really gonna go through it, in ways that i think they do translate to waylon (which are more fitting), but give a look at how miles was really going to be treated in the game ... he is literally meant to run, hide, survive ... for a while. i'm not saying he made it to the end totally sane and sound, but comparatively? especially to say josh? oh yeah, miles was mostly compelled by something outside of his own mind, which is pretty solid. this (to me) again sort of asserts "miles is a character we control, not a player substitute", as well as the idea that miles is more a body horror guy unfortunately for him. makes you wonder what he would see in like silent hill, eh?

[zeroducks-2]

tell us about the nasty Slade man from TT03

since you guys (and @exhausted-pigeon) asked, here's me talking about iconic Teen Titans 2003 Slade :D

Disclaimer right here. Unlike a lot of fortunate folks, I did not have Teen Titans available to watch back then (I really missed out, especially cause I was in my pre-teen years and that would have been The Perfect Show for me at that point). This means that I only got to watch tt03 recently, therefore these thoughts don't come from someone who holds the show dear as a childhood memory, and who fell in love with it a long time ago, who had their christening to DC stuff through that and yada yada.

I'll therefore discuss tt03 Slade without personal/emotional involvement, and keeping in mind that tt03 is indeed a show intended for a young audience. I'll be adding screenshots for poignancy, so it's going to be a pretty long post :)

End of disclaimer, now onto the good shit.

So, what to say about Slade. Fans have been calling him downright devious, the Teenagers Tormentor, A True Menace To Society, a master manipulator, and a child predator even if there's nothing *too* explicit being that this is a show for kids.

(not that kids being the target audience stopped them showing Slade sleeping with Tara in NTT back in the '80s, but that's a conversation for another time)

Do I think that any of this is true? The answer is essentially yes, I agree with all of the above.

Slade is a very fun character, and his presence dominates the scene every time he's on screen. He's a solid villain, one that feels truly threatening for the protagonists (and not like a forgettable bad guy who can be overpowered with The Power Of Friendship™), and he fits perfectly with the dynamic of the show. He will do the most ridiculous corny things, like materializing at random in a corner of a panoramic wheel cart, while the wheel is in motion, right when Terra and Beast Boy are about to kiss (just to ruin their night basically).

I tried to find a gif cause this scene is too funny but sadly I didn't manage.

But he will also (and mostly) do fucked up shit which people nowadays argue as not belonging in a kid show, like grooming teenagers and/or forcing them to work for him.

His design is also easily iconic, and he's huge in bulk compared to the tiny, slender kid protagonists, adding to the threatening vibe.

I mean look at that Raven's a mushroom compared to him

But he's not a monster - you know he's a human being while you're watching the show, whether you imagine an eyepatch and silver hair like comicbooks!Slade or you picture a completely different kind of face on him, you still know he's just a man... or is he.

The show subtly toys with the idea that Slade might not be human after all. His face is never shown - every single time one of the characters manages to overpower him and unmask him, they find out that they've been fighting against a robot.

This happens after a fight so violent Robin almost dies by falling off a building, and SLADE HIMSELF saves him - reason being more or less "I'm not done kicking your ass". Eventually Robin manages to overpower him, takes off his mask, and lo and behold:

Slade wasn't even there the whole time.

Also, he seems to live in some sort of lab filled with complicated tech and huge gears that spin into nothing. Does this man even need to sleep, eat or drink?

What is this place and how high is the rent

I love what he did with the huge gears it's so ambient

All of this contributes to the threatening, mysterious aura surrounding the character. Which at times can turn into outright terrifying despite the show being relatively lighthearted. Pretty soon the narrative manages to establish the fact that Slade is nearly impossible to beat, that he will do anything to bring down the protagonists (or bring them under his control), and that you can always expect the worst from him.

But the most interesting aspect to discuss is for most people the child predator vibes this character has from his first appearance throughout the entirety of the show. And to whoever says "you can't tell me that they didn't do this intentionally", well, consider two things

1 - Slade in the comicbooks did sleep with a 15yo, in order to use her to bring down the Titans. So like, the fact that he *might* sleep with kids isn't much of a far-fetched hypothesis and 2 - The way he acts goes beyond the average "well this is a kids show of course the villain will act in weird ways towards kids".

Let me expand a little on this second point. When the protagonist of a story is a kid, the villain that will try to hurt/kill them is not automatically a child predator or a child abuser, only because he hurts a kid. In the context of that story it makes sense that the villain will act as if the protag was an adult - the story was created with a young audience in mind, and if other characters treated the protag like a child it would break their immersion.

So is this the case with Slade? Well yes, but actually no. There obviously is a case of "he treats the characters like adults cause it's a kids show" but does he, really? Slade works with the fact that the characters are kids, therefore inexperienced and easy to manipulate. He also wants an apprentice, which necessarily has to be young. In Terra's case, he plays on her insecurities and her need for someone to teach her and guide her. And then there's the way the scenes are directed and the creepiness factor of just how this man interacts with these kids that rightfully puts him in the creep zone, regardless of what exactly the story will show in terms of explicit details.

For this to make more sense I need to make examples, so let's dive in a little deeper starting with Fans Favorite's ... *drumroll* ...

The Apprentice Arc

It starts out with Slade contacting the Titans to tell them that he planted a bomb in the city. Robin, who's already obsessing at the point of waking up drenched in sweat after nightmares where he and Slade beat the shit out of each other, snaps into action to retrieve the trigger of the bomb.

Tis Robin waking up in his "Pepe Silvia" room dedicated to Slade after a nightmare, for your viewing pleasure.

So off the kids go, and while Robin chases Slade, the rest of the team goes try and dismantle the bomb. Slade tosses Robin around for a while, and when Robin manages to grab the remote control, Slade reveals that this is not a remote control because there is no bomb at all - rather, the rest of the Titans have just gotten hit with a laser beam that infected them with nanomachines. Now Robin has to do Slade's bidding and become his apprentice; if he refuses, or disobeys, Slade will use a button to inflict pain and potentially kill the other Titans, thanks to those nanomachines.

These are said nanomachines attached to the Titans' blood cells, conveniently displayed in huge ass screens. I love this scene so much it's so SERIOUS and SO CORNY at the same time lmao.

What ensues is Robin being forced to become Slade's apprentice, dressed in a cute replica of Slade's own suit,

And meanwhile Slade tosses him around either for the funsies or because Robin dares do something he doesn't like. Explicitly saying that he wants Robin to call him "Master". Please go watch the scene, it's 7 seconds long but it conveys EVERYTHING. This mf calls Robin "good boy" in the most condescending way you can ever imagine. Here, click this, I promise you won't be disappointed.

Here's Slade beating up a child for your viewing pleasure.

So at some point Robin is ordered to infiltrate Wayne Enterprise. The Titans try to stop him, Slade pushes for him to fight them, but baby doesn't want to especially when Starfire refuses to engage him. Slade not only starts to torture them with the nanomachines, forcing Robin to shoot them, but when kiddo gets back to him he receives the ass-whooping of his life, followed by this scene:

Here Slade is basically saying "I'm going to put you in your place in a way that will stick", but the scene is conveniently cut by the arrival of the rest of the Titans.

Robin has the idea of infecting himself with the nanomachines, so now if Slade wants to kill them, he has to kill him too. And Slade... tosses away the button, discarding the nanomachines plan on the spot, because the point REALLY was having Robin as an apprentice. If he can't have him, then there's no point.

Then there's Terra's Arc in Season 2, which goes more or less like this:

The Titans meet Terra, a kid their age who's very strong (she can manipulate the earth) but can't perfectly control her own powers. She's very self-conscious about this and when Beast Boy finds out, she begs him not to tell anyone, which he promises.

Soon after she gets singled out by Slade, who corners her and starts poking and prodding about how weak she is, unable to control her powers, and how her "new friends" will soon find out and once they do, they will discard her.

Honestly the fact that he's so big and Terra's itty bitty teeny tiny really adds to the overall creepiness of this scene. They're blocked in a cave underground btw, and to hammer the point home Slade starts tossing her around until she completely freaks out and almost buries herself under the rubble.

Soon after that, Robin deduces by himself that Terra isn't in complete control of her powers, but Terra thinks that Beast Boy snitched on her after promising he wouldn't say anything. Hurt and betrayed she runs away, and guess who she runs to?

As far as I remember, the amount of time Terra spends with Slade is nondescript. But what she says is that he trained her, taught her to not be afraid of her own powers (which is true, she can control her powers now), and gave her a purpose and direction. She comes back and infiltrates the Titans, now being a well groomed little spy, but despite her efforts Slade keeps being abusive and beats the living hell out of her when she comes back to him after a failed mission. He can puppeteer her through the suit she's wearing, but at some point she manages to break free of his control and the arc ends tragically with Terra killing Slade, and herself.

Is this the end of it then? Nuh-huh. Here comes the

Whatever the fuck is happening to Robin Arc

So Slade is dead. But at some point during a fight, Robin starts seeing him and chasing him, getting a mild ass-whoop like he normally would. His teammates are obviously confused but they comply when Robin tells them to go defuse these bombs that Slade planted - only there are no bombs. And it looks like Robin is the only one who can even see Slade.

The situation escalates at the point of Robin having to be strapped to a bed because he was literally killing himself while "fighting Slade", despite being the only one who could see him. Slade himself is the one that frees him from the restraints, and keeps beating him within an inch of his life, at the point that Robin starts begging.

And here we have what's probably the most memorable line of the whole show: "I am the thing that keeps you up at night. I am the evil that haunts every dark corner of your mind. I will never rest and neither will you."

What is happening here in theory is that Robin got dosed with toxic dust coming from Slade's mask, therefore he's seeing things and his brain is in so much stress that he might die from strain (he ends up saving himself by turning on the light). But taking into consideration what happened during the Apprentice arc, it's easy to see parallels with PTSD.

There is actually more. There's Slade being resurrected by Trigon and going rapey on Raven (you've seen the screenshot before) by tearing off her cape, and there's also an epic moment in which Slade goes to hell, WITH ROBIN'S HELP, to retrieve his own body and aid in the fight against Trigon. But I think my point already came across well enough:

Teen Titans 2003 Slade is a fucking creep, and compared to him, NTT Deathstroke is a sweet little lamb who wouldn't hurt a fly. Which is why it is so funny to me when people claim tt03 Slade is "better cause he never slept with a teenager" - Boy oh boy, you might have not seen it on screen but the subtext is clear as day.

This man has no moral code, no bounds (other than what the PG rating of the show will place on him) and not an ounce of humanity. I don't need to see no scene with half naked kids smoking cigarettes with only a bathrobe as clothing (like this one) to know what this man did.

[decepti-thots]

💖

What is your biggest unpopular opinion about the series?

Assuming that this means more 'fewest people agree with you' than it does 'most divisive'... probably that I genuinely feel like the original concept for the ending of LL where Rodimus dies was a good idea and, honestly, I have a suspicion I would prefer it to the actual LL ending. (Admittedly, whether Rodimus survives or not doesn't really impact the most awkward part of it for me- the split timeline conceit I have extremely mixed feelings about- but I think it would have given a real solid earned emotional punch in itself that otherwise the finale arc mostly lacks.)

A lot of people reeeeally hate this idea and are glad it was dropped. I admit I can see a lot of ways it might go wrong, and given how kill-happy MTMTE/LL got, sometimes to its own detriment, I get it. But the Rodimus death does genuinely feel like an earned end to his arc. I can see why it was dropped, but... it makes a lot of emotional and narrative sense to me as a final beat.

Oh, but also. Another one is that I think the Scavengers arcs after the first one are bad. I usually skip those on reread and feel like those characters were not well utilized past that first (admittedly very punchy and well written!) arc which they made such an impression in. (I do love the Revolution one-shot, though. That one is a much better fit for them, IMO.)