#but I really want to highlight the characterization here

[daydreamerdrew]

Whiz Comics (1940) #50

[morlock-holmes]

The Conspiratorial Mindset

So, I've always had a bit of an interest in scams and hokum, and what people call "Cults".

One of the common refrains when you talk about religious Cults is, "If you think about it all religions have beliefs that seem odd to outsiders" and this is true, but as I read more about cults I started to think,

"Wait, a lot of these groups aren't united just by having unusual religious or supernatural views; a lot of them also seem to have matching patterns of behaviors that have nothing to do with belief in psychic space aliens"

I'm talking about things like,

Having a leadership structure which is absolute, where the top leaders cannot be disciplined or even openly criticized by lower members;

Exerting tremendous control over the dress and behavior of adherents;

Telling adherents that outsiders are untrustworthy and that contact with outsiders should be strictly limited and heavily monitored by organizational leadership;

The extensive and common use of shunning and reprogramming in response to violation of any of the above rules.

In some groups, failing to adhere to the dress code and spending a lot of time with outsiders is, at worst, the subject of a few little jabs at family gatherings. In other groups, those same behaviors are treated as Defcon one crises and become the central issue of the adherent's relationship with everybody else in the organization until they can be bullied back into doing the organization's bidding.

It was gratifying to learn that other people have noticed these patterns (Some people prefer the term "High Control Group" to "Cult" because it highlights what the actual problem is)

I am starting to notice similar dynamics in what are commonly called "Conspiracy theories".

The thing about conspiracy theories is... Well, conspiracies exist, and sometimes groups of powerful people get together to do something in secret which would get them in big trouble if they were to do it openly.

But I am starting to notice a particular, I don't know, a particular way of conceptualizing the organization and purpose of conspiracies which is unique to some people and which characterizes the kind of conspiracy theorist who takes Alex Jones seriously.

I kind of think of it as a "Witch-Hunting mentality".

For certain people in more primitive times and places, if they, say, slipped off a ladder and hurt themselves, their first thought would be, "That must have happened because a witch cursed me. We need to find and punish the witch who cursed me."

And this isn't just the attribution of malice that characterizes this idea:

One malicious conspiracy that might make you fall off a ladder is a manufacturer who doesn't care about safety ratings. Imagine that the manufacturer is really deliberately malicious here. A subordinate comes to him and says, "Our ladders can't reliably hold the weight of a person and a lot of them will probably break and cause people to fall and hurt themselves." and he says, "I know that but who cares, by the time people figure it out it'll be too late to get their money back."

That's a malicious conspiracy, but, importantly, if Bob buys a faulty ladder and falls off, the conspiracy wasn't trying to hurt Bob; it merely didn't care whether Bob got hurt.

Now, this distinction doesn't take away the malice and hostility towards Bob, but if you go to the ladder manufacturer and say, "Hey boss, Bob bought one of our faulty ladders, but he's really skinny so the ladder didn't break" the manufacturer will go, "Who the fuck is Bob? And good, that's one less angry person."

Whereas imagine Bob's ladder has been cursed to break by a witch. The witch did it because she hates Bob, and wants him to fall, and if she finds out he didn't fall, she'll go, "Curses, I'll have to find some other way to hurt Bob."

Conspiracy theorists, it seems to me, are far more inclined to conceptualize conspiracies as acts of deliberate malice aimed at them rather than acts of negligent malice.

@loving-n0t-heyting posted this article from the New York Post which contains a good example of what I mean:

“I thought I was on the cutting edge of promoting rights for gay people,” Yang said. “But then I started looking deeper into where this was coming from and who was paying for it, and I started to get very disillusioned...

I assume the people paying for it are LGBT advocacy groups? Did you, uh, not know that the people you were working for were paying you to work for them?

“When you really dig down you can see how much of this comes from documents and plans at the United Nations,” Yang said, referring in part to the UN’s “Gender Equality” initiative. “It’s part of a global agenda to restructure society, re-structure our social norms and the economy,” Yang claimed. “They are undermining the sexually dimorphic nature of reality and breaking down the differences between the sexes to break down our identity. They are constructing identities for us and they want us to adopt them.”

Oh, I see.

This is exactly what I mean. LGBT rights efforts make Yang and others feel disoriented, like society is being restructured and that they are being left behind, like they aren't quite in control of social norms and that stable identity categories can't be relied on anymore.

Now, one kind of conservative might look at that and say, "These are bad second order effects of LGBT people trying to assert their lifestyle in public and that's why we should oppose them."

But another kind says, "These changes make me feel unstable. Therefore, the main purpose of the changes is to make me feel unstable. In order to understand these changes, I need to figure out who wants me to feel unstable and what they would gain from making me feel unstable."

The idea that Yang's feeling of instability is simply a side effect of a series of efforts mainly focused on LGBT rights is incomprehensible. Instead, she believes that there is a series of efforts focused mainly on making her feel unstable, with LGBT rights as a kind of side effect to the main goal of making her feel unstable.

This kind of thing is, to me, a big red flag that indicates that we are starting to float away from reasonable conspiracy thinking into crazy town.

I am particularly curious if folks can recommend any writers or researchers who have noticed this dynamic.

[oh-no-its-bird]

Obkk ghost marriage fic where after kannabi bridge, the Uchiha decide Kakashi can keep the eye but only if he agrees to marry Obito's ghost in a traditional ghost marriage.

(This also means he officially joins the Uchiha clan. Maybe lean into how he knows very little ab his own clan history, so there's like some minor complexes playing off of that as he ultimately takes up the Uchiha name and traditions, effectively abandoning his own -> which could also play interestingly into his negative views of his father at that age. This also means he moves out of his clan compound and into the Uchiha district— which is actually really good for his mental health)

Kakashi doesn't argue, he sees it as the ultimate atonement actually. He's incredibly dutiful but especially so at that age. He'd take it dead fuckin seriously and be the best ghost bride possible. Instead of constantly going to the memorial stone he has like a proper shrine to honor him in the house where he leaves his favorite foods n stuff

Like little 13 year old widower Kakashi w Rin as his witness rip

I'm not the biggest Rin fan bc her canon characterization feels like that usual boring "girl crush turned martyr" (naruto misogony strikes again rip) and I've yet to find any interpretations that really strike me— with one exception.

I don't remember the fic, and Rin only showed up for part of it, but I remember being rlly taken by her in it. It highlighted her being as struck by Obito's death as Kakashi, with her an official mednin working overtime in the hospital as the war ramped up. Also it gave her a smoking habit!! I can appreciate a well played addiction to cope in text. Idk I just read it and kinda went "woah she suddenly feels like a real person to me"

But like, that for Rin here. She's working triple overtime in the hospital, day and night. The war is getting worse and worse and some nights she comes home w her gloves still stained in the blood of her patients from back to back surgeries where her patients died on the table. They have her listed for eye trauma specifically after her successful transplant for Kakashi, and she's proving to be invaluable for the patients w eye based kekkei genkkai. She wants to go into specifically researching and healing for eye bloodline limits, but is struggling to convince the clans to allow her access to that information.

Kakashi's new home is closer to the hospital that Rin's parents, and stuff w her parents is starting to get... tense. It hurts them, to see their daughter struggling like this. To see her coming home with dulled eyes and bloodied hands. To be waken by her nightmares and then not know how to comfort her.

Rin slowly starts staying over with Kakashi more and more and after a while she's just kind of fully moved in, but neither of them actually really talk about it

Let them be best friends w a kind of codependency on eachother that would be concerning if not for how it's very clearly keeping both of their heads afloat as days go on and things get worse.

Queerplatonic besties Rin and Kakashi sharing the same bed so when they wake up screaming they can help eachother go back to sleep easier. Rin likes it when Kakashi summons his ninken to sleep w them. They sleep easier w eachother bc they feel safer knowing they're there to have eachothers back, just like they would on the field

Anyways, Kakashi moves out of his clan compound and into the Uchiha's. He's neighbors with a little 6 year old Shisui and is kind of picked up by the scruff by a lot of Uchiha who have really weird complex feelings ab Obito's death (many of them feeling bad ab not having reached out before to him / seeing him die so young, and then projecting that onto Kakashi)

Kakashi and sometimes Rin kind of accidentally becoming a babysitter for Itachi both bc of proximity and bc Mikoto is friends with Kushina

On that note -> Minato does not really get the ghost marriage thing. He's civilian born, and the practice is really old and hasn't really been used since like, warring states era. So Minato is kind of weirded out and very "uhhh. Are you SURE this is what you wanna do?" But Kakashi seems set, and like, if it helps him cope???

He is however very supportive of getting Kakashi out of the fucking tomb of his father's house and into the much more populated and lively Uchiha clan compound

Minato makes Kakashi ANBU and designates him as his home guard specifically to keep him off the battlefield. He lowkey does the same to Rin (minus the ANBU part) positioning her in the hospital and making sure she's getting that good good mednin education. If pressed on why she doesn't go out as a field medic, he insists it's because she shows too much promise as a healer to risk— not now that they've lost Tsunade. If Rin can grow to be even half as good as she is, it'll be worth keeping her away from the fighting.

Neither Kakashi nor Rin feel very good about this decision (tho hypocritically, they agree w it when it comes to the other, bc ofc they do)

Rin doesn't die bc I say so and Obito does a comedy spit take when he inevitably learns he's legally married to Kakashi under the eyes of the Sage, Amaterasu and all.

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[antimony-medusa]

Writing Stronger Female Characters

Whenever you start diverging from canon, you have to make some decisions about how to characterize people. You can no longer pull directly from canon, you have to fill in the gaps yourself in whatever way supports the characters and relationships you want to highlight. And the further you get out into AU territory, the more you have to fill in the scaffolding for the story yourself, from creating interactions between characters who haven't interacted very much, to placing characters within a pantheon, to creating new dialogue or interactions to support the new beats for the story you're telling.

And a thing I see fairly often when people are writing female characters is that people want these characters to be celebrated, right? They don't want to throw their female characters under the bus, they don't want them to be forgotten— and especially here when we're drawing from canons where so often there are few female characters, so they want them to stand out. So as part of this au-construction, these writers give their female characters all the positive attributes. They're super strong, or super beloved, or super badass— but that's kind of all they are.

And while as with all writing things there is a way to do this successfully— there isn't a writing rule that can't be broken if you come at it in the right angle— this can unfortunately backfire and end up making shallow or unsatisfying female characters in a way I think people aren't intending— so I thought I'd point it out!

To use an example I see fairly often, people will be writing Kristin with SBI, and they'll go "oh and all the kids love kristin way more than phil, they think he sucks but they just love her!" or they'll be writing phistin and they go "and kristin is just so powerful and awesome and phil is just her lame husband, haha, don't know why she likes him" and then, importantly, that's as far as the characterization goes. They make Kristin awesome and or beloved, but that's where they stop, and so they never get any characterization beyond "popular and powerful".

Writing a woman as a beloved mother or a powerful force/badass wife is not inherently a bad characterization, but if you just leave it there, that's just basically all that sitcom characterization does, and I'd like to think we can do better than a tv show with a laugh track. If you think about real people in your life, even if you go "oh man everyone loves [name]", you wouldn't describe them in just that way. You'd go on and talk about their sense of humour, or they're really into pokemon, or they also have two cats that are badly behaved, or they work in an office and can do a really scary customer service voice— you'd have other things to say about them! Or if you think about how someone is a badass in your real life, you'd say about how they're a black belt in two martial arts and a scary lawyer, but you'd also talk about how they bake really well, and they do tutoring for kids, and they can drink like a fish if you get them out to the bar, and they have no spice tolerance, and just more aspects of their life, you wouldn't stop there. Putting a character on a pedestal as better than the other characters actually cuts them off from the characters you're letting have flaws and woes and enemies. It makes them less vivid and less real as characters. If we were talking about real people that we were treating like that we'd say it was dehumanizing— you're not seeing them as a real person— but when you're talking about characters, it's just shallow characterization, and it plays into some tropes that we've probably seen too often from weak writing like sitcoms or comedy that doesn't really care about its side characters. So it's a pitfall to avoid that I think that some people aren't aware they're falling into. This doesn't mean that you have to make everybody dislike your female character, or you can't make them awesome, but beloved or powerful is where you start characterization, not where you stop. You also need to throw in an ability to let them say their piece, or quirks or flaws, or someone who *doesn't* like them, or something more that lets them come alive more. You gotta take them off the pedestal and consider them as a real character, you gotta rotate the blorbo just a little bit more— flip the scene a bit in your brain and think about the scene from their POV, consider it a bit longer.

Or to take another example, I read a bunch of Syndicate fic, and I read one the other day where Niki was the Blood God (awesome) and specifically was written as better at fighting than Techno, he normally couldn't beat her in a fight. Now while in isolation that's awesome, because your reader is probably also familiar with canon, they start to compare this characterization to canon. In canon Niki was not better at PVP than Techno, so this change stands out. And the reader starts to go "wait, what victory condition is being messaged here", and the message that is being sent is that being good at PVP is good, that's the victory condition, that's what makes you awesome, and the canon characterization was kind of weak, you had to fix it.

Now if you meant to message that, that's one thing, but the impression I get from these fics is that they want to celebrate the character that they like from canon, they don't want to tear the character down. But by trying to pile awesome things on this character, they ended up undermining the character accidentally, and you run into the same issue as what was happening with Kristin, where the characterization is "badass", putting the character on a pedestal, and nothing else. I'm sure we've all seen action movies where there's a whole bunch of guys and one girl and they make the girl really awesome (cause you don't want to be sexist) and her characterization is "badass girl", full stop. And well, that's awesome, I love a badass girl, but if that's all you've got, you didn't write a very well rounded character, you wrote exactly the same character as five hundred Hollywood writers who went "oh shit I forgot to add any women" and threw someone in at the last minute.

So what, does that mean that you have to write niki as bad at PVP, or being beaten in PVP, to respect character? Not at all! The trick here is to focus on other things, spend more time with the character. Okay, so PVP wasn't one of the canon character's strengths— what were her other strengths? Cause there are *always* other strengths— with c!niki maybe you go to her force of conviction despite opposition, or her survival stubbornness when she was abandoned in a hostile world, or her desire to build and create, or her will not take nonsense attitude— even doing PVP despite not being strong in it, getting up and trying again. There's lots of things, I'm not gonna call myself a c!niki expert, but you can do it if you spend a little more time with the character. AND that doesn't mean that you can't write badass women— Hannahxxrose absolutely should give any guy on the server a run for their money when it comes to PVP, on any server she's on. That's just fucking canon. Just also you need to take it a little bit further, beyond being a badass— what makes them tick? What are their struggles? What are their quirks? What do they worry about, or laugh about, or do for fun? Maybe you just have a scene to characterize them, maybe it's a short fic— how do you make them have a life outside of this scene, how do you make them come alive? If you were writing this scene from their POV, if they had a life beyond this scene or this story, what would they say, and can you include that even when someone else is the POV character? Or heck, flip it and DO a scene from their POV, let them have the spotlight in a story and see how the character acquires depth and quirks.

There's a joke in writing where a worried male writer goes to an experienced writer who's known for writing women and goes "but how do I write women" and the experienced writer goes "pretend they're people" and goes back to writing. And that is kind of a bitter joke about how society is bad for treating women (or any other group— disabled people, autistic people, people of colour, disabled people, non-christian people— the list goes on) like they're incomprehensible and alien. But it is also just that simple, when you are writing someone who isn't from the dominant paradigm. You do your research, if it's someone from an experience you don't share, but mostly the important thing is to remember that you're writing people. They have just as many hopes and dreams and quirks and flaws as you do, and any time you boil them down to only one attribute— even if it's a positive attribute— you end up with a weaker character and writing than you might mean to.

So that's how, obliquely, to get a stronger character, you need to make sure that your character is more than just strong (or beloved, or powerful, etc), they also need to have more character traits— they actually need weaknesses and quirks— and that's gonna take you one step closer to your female characters feeling like real (awesome) people.

[radioapple-heathen]

My Top 10 Radioapple Fic 'Series' Recs

I've been working on this for a while. With nearly 4k fics for this ship on A03 (at the time of me writing this rec list), it can be difficult to find gems. I was really grateful for the rec lists I stumbled upon when I first joined this fandom, and I want to share the fics that have changed my brain chemistry with both newcomers and oldtimers alike. As with all rec lists, this list is completely subjective and curtailed to my tastes/preferences. I'm also sure this list will change with time as more fics get added to the fandom. As of mid-2024 though, here's where I'm at.

For background, I am an acespec 30+ married woman with ADHD raising a AuDHD child, and I appreciate fics that handle these aspects with respect and care. I've also been in fandom/writing for 20+ years, never professionally, always for fun.

My fic preferences:

I gravitate towards crisp prose that is sophisticated but not weighed down by excessive $5 dollar words. I like my fic like I like my food: digestible. The writing doesn't have to be perfect (typos and grammatical errors happen, that I can deal with) but the characterization is important to me.

I gravitate towards top!Lucifer because Alastor is a prissy little power bottom, but there are certainly exceptions to that on this list. At my core, though, I think they're switches with preferences.

I gravitate towards fics that have a nice balance of plot and romance, preferably leaning more towards the latter. I read fanfic for the relationship so if the plot supersedes the 'radioapple'-ness, I tend to find myself drifting/skimming, before giving up altogether.

I gravitate towards fics in sub <200k. Again this is an attention thing, no fault of the author, people loveee long fics. But often, even if I'm loving a fic, I'm like okay, where are we going with this? Again, some exceptions, which I'll highlight below.

I can be picky about my slow burns, like if it takes 100k to hold hands, I'll prob pass? BUT THIS IS JUST ME AND I HAVE THE ATTENTION SPAN OF A GOLDFISH AND I WANT TO FORCE THEIR HEADS TOGETHER AND MAKE THEM KISS ASAP?????

I gravitate towards genderfluid or intersex Lucifer, he's a shapeshifter and an angel, it just.. makes sense to me.

I have a preference for M or E-rated fics. I just really love the vulnerability and character development that can be explored through intimacy, especially in re: to Alastor's ace-ness. And what can I say? I wanna read about twink king getting it on with his deer man. That being said, I do have some T+ recs in my multi-chap/oneshot rec list.

Anyways. With all that said, let's get into the actual fics. Note, this isn't an exhaustive list, I could rec fics forever, there's so much talent in this fandom. These are just the ones that have altered my genetic makeup.

Top 10 Series

1.) All changed, changed utterly by @tollingreminiscentbells

Series: Complete. Rated: E. POV: Alastor for installments 1-5. Last installment (6) it switches. Genre: Canon Divergence/Post-Canon. Notable Warnings: None.

Notes:

This is actually my favorite radioapple fic/series in the entire fandom. This series has rendered me somehow both speechless and bursting at the seams with praise. The writing is superb, the prose is elegant, but also easy to parse. Alastor meeting Lucifer as a human (and then again, in Hell) is by far my favorite trope of this ship, and this author takes said trope and weaves it into a masterpiece. The way they write Lucifer’s character (grieved by wrongs and loss, ancient and capable and so, so loving) is such a joy. And Alastor, god. I personally find Alastor’s POV tricky to write. He is a very complex character with a very specific narration voice, whimsical and deadly and clever and emotional stunted and possessive of what's his — which in this case, is Lucifer. I will never be able to sing enough praises. It truly cemented my love for this wonderful, complex, violently loving ship.

2.) Between the Shadow & the Soul by winterveritas

Series: In Progress. Rated: E. POV: Alastor. Genre: Canon Divergence/Post-Canon. Notable Warnings: None.

This author will pop up several times because everything they touch is gold. I really love this take on the radioapple dynamic where Alastor is rather smitten from the start, because I feel like many fics drag him kicking and screaming into admitting he cares (mine included, no shade). But like, Winter is able to write him this way while still keeping him in-character imo, and I just... love it???

3.) Lucifer and his Terrible, No Good, Very Bad Relationship by @keelywolfe

Series: In Progress. Rated: E. POV: Lucifer. Genre: Canon Divergence/Post-Canon. Notable Warnings: None.

You might actually be living under a rock if you haven't read this series. If that's the case, I IMPLORE YOU, FOR THE LOVE OF GOD, read this series. It has one of the best Lucifer's narration voices I've ever read. Also, it has one of my favorite tropes: "slow burn but they're fucking the whole time." AND AND AND intersex!top!Lucifer, YES PLEASE???? This series also is one of my 'typical attention span for fics' exceptions because it just hit 200k, and I am still 100% invested. I could read about these two idiots forever.

4.) Wicked Game by TrashDemonX

Series: In Progress. Rated: E. POV: Alastor. Genre: Canon Divergence/Post-Canon. Notable Warnings: None.

Not gonna lie, I went into this with the idea of just like, Smut Galore (and it is, bless), but it's actually become just a fascinating character study on Alastor. Impeccable writing, and there is currently one chapter left of part 3 AND I AM FOAMING AT THE MOUTH FOR IT???? This is a top!Alastor fic but Lucifer isn't like a pillow princess, my man is involved and so for me, it works well. I can't say enough about how WELL this author writes Alastor's voice. Again, not an easy feat imo.

5.) Radioapple Broadcast by blatantblue

Series: Complete. Rated: E. POV: Alastor for Part 1, Lucifer for Part 2, Alastor for Part 3. Genre: Canon Divergence/Post-Canon. Notable Warnings: None.

Notes: This was a positive JOY. Incredible writing and storytelling. Dom/sub undertones which is a huge plus for me, especially when Alastor is the sub. I reread this series often (and I usually am not a huge reread-er unless its been a while), but this is just a comfort fic, I think.

6.) Cataclysmic Cathechism by @wyldefire-writings

Series: Complete. Rated: E. POV: Lucifer. Genre: Canon Divergence/Post-Canon. Notable Warnings: MPreg.

Notes:

I am about to show my entire ass right now but this series. My LORD.

Not gonna lie, MPreg was actually a squick for me before I joined this fandom/ship, but after reading this fic specifically, I'm now like, Al, my deer, my main man, knock that KoH the fuck up. Honestly, this was such a ride, and both of the boys were written SO WELL. Also, this author has the funniest A/N's I've ever had the pleasure of reading.

7. Hunger Pains by @theaffablescamp

Series: In Progress. Rated: E. POV: Switches. Genre: Canon Divergence/Post-canon. Notable Warnings: None.

Notes:

Excellent writing and some very intriguing plot happening right now. Has arguably the most intense wing preening session I have ever read that legit lives rent free in my head. Another "slow burn but they're fucking the whole time" fic which is just delightful.

8.) machinations by fiveandnocents

Series: Complete. Rated: T-M. POV: Switches. Genre: Canon Divergence/Post-canon. Notable Warnings: None.

Notes:

AHH I love this so much. Essentially, Alastor strikes up a relationship with Lucifer, as a means to manipulate him AND THE IDIOT FALLS IN LOVE UGHHH. It's chef's kiss. Spectacular characterization, this could be canon, and I'd be like yep, this happens in season 2, haha.

9.) By Name by @eunicorne

Series: Complete. Rated: E. POV: Switches. Genre: Canon Divergence/Post-Canon. Notable Warnings: Gore, Consensual Murder? He regens, it's fine.

Notes:

So. I will continue to show my ass. As a note, I don't like violence/gore for violence's sake but when there are BDSM undertones and aftercare, I'm a fucking goner. This was one of my first dives into very dark aspects of radioapple, and I.. my brain chemistry has been altered by this series.

10.) imagine being loved by me by deliciously deviant

Series: In-Progress. Rated: E. POV: Switches. Notable Warnings: Gore, Consensual Cannibalism, I have never met a deader dove.

Notes:

Incredible writing and character voices BUT HOLY SHIT not for the weak or even average stomach. Again, I am soft for the whole, "I'm gonna cause you pain that you want/need to get out of your head" and I feel like I couldn't leave this rec out just bc of the content matter, but I am serious, read at your own risk.

AND THERE YOU HAVE IT. If you have any series recs of your own, feel free to share in the comments!

I also have my top 10 Multi-Chaptered (non-series) and top 10 oneshots recs list in my drafts rn, I'll be posting those in the next few days!

[saurongorthaur9]

So, in the last couple months, I've gotten a few different people commenting on my fanfiction commenting/reviewing methods. I've been involved in fanfic communities since 2008 and I've reviewed literally thousands of stories. I also like leaving long, fairly detailed comments, and I've had multiple people asking me for tips on commenting and what my process is. I needed to take a little break amidst the chaos of packing for a 2000 mile move, so I thought I'd write up a little guide for tips and tricks on leaving great reviews. So here you go: SG's Guide to Commenting on Fanfics!

First of all, my method. I take notes as I read personally. My preferred method is saving stories to my laptop and then highlighting parts I want to comment on, but there are any number of alternate methods, such as using a note app on your phone or jotting down physical notes in a notebook, if you're old-school like that :)

Then, here are my tips on ways to write great comments! (And a reminder, these are just tips, not rules! There is no Fanfiction Comments Bible I am using here, just my own experience for how I write my comments/reviews, so take or leave any portions of it that you want. But hopefully, if you are new to commenting or wanting to leave more detailed comments, you'll find something helpful here.

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1. First, you can never go wrong with an enthusiastic "OMG I loved this! *keyboard smash* *kudos*" I can guarantee you that there is no author out there who doesn't appreciate unbridled enthusiasm about the content they spent hours, days, weeks, or even months working on.

2. Quote passages that stood out to you, then tell the author how that passage made you feel. From my experience, authors love knowing specific passages that impacted their reader. I usually will format it something like this: *Quote from story* Oh my gosh, this piece of dialogue made me laugh so hard...or... *Quote from story* I seriously teared up here, so beautiful.

3. Were there places where the characterization was just spot on? Let the author know. It can be something simple like "When x character did x, that felt SO in character!"

4. Did the characters make you feel emotions? Again, let the author know. "When x character did x, I wanted to punch them so hard!" or "Aw, when x character kissed x character, I felt so warm and fuzzy!"

5. Was there a descriptive passage that felt super realistic? You can say something like "When you described that waterfall, I felt like I was right there" or "When x character was pulling out that splinter, I was squirming the whole time".

6. For a little bit of a more expert reviewer tip, comment on things that author has done to expand or add to the world. This can look like a variety of different comments, but here are some examples. "I love how you've delved into x character's backstory or psychology with your story. I've always found them intriguing and wondered why they made x choice." "Your OC fits so well into this world. I could totally see this character going about their life during the canon events." "I really enjoy that you're exploring x culture in your story; I loved the description of the festival at the beginning."

7. For a really expert tip, comment on the little easter eggs you notice in fics. From my experience, authors are utterly delighted when readers pick up the little tidbits they've meticulously hidden or ways they've shown off their technical skills. This requires more in-depth knowledge of how writing and stories work however. This can look like comments like these: "OMG, I saw what you did there with that foreshadowing when x character said x!" or "That was really clever how you showed a parallel between this character over here and that character over there."

8. Finally, thank the author! They put lots of effort into creating this piece of art that you've just enjoyed; let them know you appreciate their time, creativity, and effort. And if it's a multi-chapter story or a series, let them know you're invested without being pushy for an update. I like saying something like this at the end of my reviews: "Thank you so much for sharing your work with us! I am so excited to see where the story is going whenever you share the next chapter. Cheers!"

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And of course, remember that a simple comment is better than no comment! I know I'm very much not the only person to have said this, but comments are an essential part of the Fandom ecosystem. If you only have time or energy to leave a quick "I loved it!" then do that! You will make the author's day, I guarantee. But if you're considering whether or not to leave a comment at all, please remember that all fanfic authors are people who have poured enormous amounts of time and effort into the thing you've just enjoyed (to give you an idea, it takes me an average of about 60-80 hours PER CHAPTER to write Gorthauro Estel).

I've also seen posts from people about fears of saying the wrong thing in a review. There are very few "wrong" things to say, but just to allay any fears one might have, I've compiled a quick list of what to avoid in your review.

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Don't beg for updates. Getting an "Update please!" review on a WIP that you haven't been able to work on for whatever reasons is always discouraging. I can understand how a beginning reviewer could see it as a complement, but as someone myself who is slow to update, I can tell you that it only puts a larger sense of pressure, weight, and discouragement on the writer. If you want to let the writer know you are looking forward to an update and are invested in the story, look at my last point in the comment tips above.

Going along with that, don't comment on how long it's been since the story has been updated. During some of my gaps where I just couldn't write for a number of different reasons, I would get frequent comments along the lines of "wow, this story hasn't been updated in a year, are you ever going to update?" Those reviews would make me feel SO bad. I was always intimately aware of how long it had been, and I think most authors are the same. Instead, writing a sweet, enthusiastic review with some of the tips above might just give the author the emotional and mental juice to work on that stalled WIP again.

If the author has a different headcanon about a character, event, etc that doesn't line up with your headcanon, don't comment on it. I recently got a review complaining that I write my Sauron as someone attracted to women. I personally headcanon Sauron as heteroromantic demisexual (which is also what I am), and that's the way I portray him in my fics. If the author's headcanon doesn't line up with yours and it bothers you enough to want to comment on it, that story might just not be for you. If you choose to read the fic, you are choosing to enter into the world of the author's headcanon and you should be respectful of it.

Similarly, if the author makes a choice for where to take their story that you don't care for, don't comment on it. You are perfectly within your rights to stop reading if you don't like the way the author chooses to take their story, but it is their story.

Don't point out mistakes unless you know whether the author is comfortable with it or not. I am personally fine with people pointing out typos or the like to me in public reviews, but some people can be sensitive about it. Check with the author privately rather than leaving a public comment to see what they are comfortable with.

Basically, it comes down to the old adage, if you don't have anything nice to say, don't say anything at all. If you keep your comments positive rather than negative, you're unlikely to say anything "wrong".

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Hopefully, this has been helpful! Now go forth and comment!

[sendothetaurus]

How to write good dialogue

Almost every story needs dialogue - obvious right? Well, this post is about the not-so-obvious sides of conversations. I've struggled a LOT with snappy and realistic speech, so I've made it my mission to collect some handy directives. Here is what I found:

Contents

Information Dumps

Setup And Payoff

Characterization Through Dialogue

Three Simple Questions

Four-Sides Model

Depth

About Answers

Sources And Credits

⮮ Let's go! (^▽^) ⮯

Information Dumps

Everybody knows them, everybody hates reading them. But how do we avoid them? Something really clicked for me when I understood context. If your character talks about something that happened in the past, they don't need to explain what happened. They were there. Here's an example:

"It would be nice if we at least got a B for that paper. Since I will go to college next year, I feel that this is important to me."

The speaker and the listener should be aware of the exposition (regarding their last year at high school). During dialogue, these conditions go without saying.

Setup And Payoff

Instead of dumping everything at once, let the reader guess what's happening. This is done by mentioning something that is not answered right away. Also dropping hints can increase tension.

Scene 1 "Why do you always carry that with you?" she asked and pointed at the box cutter. Her friend eyed her with suspicion. "For cutting." "Yeah, but why?" "Might come in handy sometime." Scene 2 An ice cold shiver ran down her spine as her fingers felt around the bag, searching for the familiar shape. There was nothing. The other tossed the thing onto the floor between them. "Care to elaborate?" She couldn't have known. "How could you!"

Someone definitely has a secret here that they don't want uncovered. It makes the reader speculate: Does she carry the knife to defend herself or does she plan on hurting someone with it?

Characterization Through Dialogue

The general rule of thumb is: Show not tell. If a character is shy, self-absorbed or chaotic, make them act like it. Also, readers take part in the characterization of your protagonists. Make them guess why a character acts a certain way.

"C- can I have your pen?" She twirled her thumbs and looked at the ground. "What the hell, no!" Disgusted, he brushed off his hands on the front of his jeans. "I'mma better disinfect that."

Notice how the girl is stuttering and the boy has a loose tongue. Mannerisms help identifying traits in a character. Everyone has a distinct way to speak (e.g. relaxed, polite, malignly) which makes it easier to tell them apart. Sometimes there is a difference between speech and behavior. This can be quite useful to highlight conflict inside a character.

Three Simple Questions

Who wants what from who?

Why now?

What happens if they don't get it?

These questions ensure plot consistency. For question 3 the only other outcome is conflict. Conversations thrive off of conflict and it is of benefit to have a supplicant and potential provider for a solution. It's basically intention versus obstacle.

1. She wants to be his wife. He doesn't want a marriage. 2. She is pregnant. 3. She needs to provide for a baby all on her own.

Tadaa, a conflict ensues.

Four-Sides Model

The four-sides model is a theory on communication. It assumes that a message has four distinct ways of being conveyed:

Facts -> data, facts, truth and relevance

Self-Disclosure -> explicit and implicit information about the own mindset; likes, dislikes, opinions

Relationship -> information about whether the person is liked or detested; approval and disapproval; "I assume you have [this] opinion of me"; body language

Want -> a direct attempt to influence the behavior of another person; advice, desire or instruction

Since this is highly technical stuff, I'll provide you with an example:

Customer: "I always drink my coffee black." 1. Fact: The coffee I drink is black. 2. Self-Disclosure: I like black coffee. 3. Relationship (POV of the waiter): Did I do something wrong? OR It's their fault! They ordered the wrong thing! 4. Want: Bring me black coffee.

Controlling the message through sender and receiver gives a new level of influence to an author. The relationship-level is the bottleneck in a conversation that holds the most potential for misunderstandings. I'm trying to be aware of it when I write subtext (see below).

Depth

On the nose dialogue is what we want to avoid at all costs. For this reason subtext is created in stories. Read this:

Scene 1 A: "I like you." B: "Nah, I don't like you back. You're so annoying." A: "Ouch, that hurts. I'm not sure if I heard that right." B: "We were never friends. Go away."

This is not how conversations work. Thankfully, dialogue like this is not entirely useless. It conveys what the characters really want to say. The challenge is to think of a way to not say the thing but keep a similar meaning.

The true meaning behind the dialogue is called subtext (scene 1). If I don't know how to continue after a certain line, I write down the subtext first before I decide on how to paraphrase it.

Finally, I add a fitting description of expression and body language if needed. I try to keep it short and simple.

Check this out:

Scene 2 She tucked her hair behind her ear. "I need a ride home later. Are you free?" -> I like you. "Sorry, all seats' re taken," he said without looking at her. -> Nah, I don't like you back. You're so annoying. "Uhm, okay. But I'm small. You could fit me in the footwell, honestly." -> Ouch, that hurts. I'm not sure if I heard that right. He leaned forward as if he had the urge to stand. "Ha, funny. But no, I'm not planning on doing something illegal tonight." -> We were never friends. Go away.

A character's action depends on their own intention and the other's response. I feel it is easier to keep track of what's happening behind the curtains when it's written alongside the dialogue.

Simultaneously, you can keep habits and traits in check. Does the the character apply all criticism to themselves? Are they disregarding or constantly marginalizing others? Do they worry only for themselves or solely for others? Subtext truly is the most powerful tool in conversation-writing.

About Answers

Did you know that you don't have to answer every single question? In fact, there are two other ways to show an emotion without telling it.

The first one is called sidestepping. The character ignores the posed question and carries on with an entirely different topic.

A: "Do you still love me?" B: "We should get going."

It's very obvious, right? By sidestepping the question, we can assume that the character is uncomfortable or angry with the other person.

The other way to answer is actually a bit paradoxical. Through silence, a great variety of emotions can be displayed. It is recommended to refrain from actually describing silence with words like "he remained silent", "he refused to say anything", "he never responded".

- The laptop hummed. - The birds chirped in the trees. - She felt her legs going numb from sitting in an uncomfortable position. - His eyes wandered around, searching the parking lot for a familiar face.

It feels more natural to explain the things that grab our attention when we sit in silence.

This is it, folks. That's all I could find on the topic - for now. If there's anything missing, I'd love to hear it.

‧͙⁺˚*･༓☾ Anyway, thanks for reading, I hope this helped ☽༓･*˚⁺‧͙

My sources are this and this video as well as this article.

Also a big thank you to @zoropookie for helping me with the colors ⸜(｡˃ ᵕ ˂ )⸝♡

[happypotato48]

I think it would be fun to highlight some changes wandee goodday made as an adaptation. so here a few notable things in no particular order.

I'm not going into spoiler territory, but even if i want to the book didn't had a lot of plot to begin with and i doubt the show will follow what gone down in the book without adding a lot to it.

In the book Wandee is 29 and Yak is 20. cause of the age gap their dynamic is slightly different than in the show. Yak called Dee Phi and he use Nong as 1th person pronoun with Dee.

the convenience store scene is where they first met in the book. there was no hospital visit at all. Dee legit was following a complete stranger and being unhinged for the first peice of man meat he can find.

Yak have more of a passive personality in the book. the book made a point that although he looks like a thug Yak is actually very soft spoken and polite. this + the age gap made it feels like Dee is the one in charge in their relationship.

there was no scholarship in the book. Dee asked Yak to be his fake bf solely for petty reason, people in the hospital were gossiping and he just don't want to be the loser who got rejected.

Ter didn't said "I only like girls" in the book and made it clear that he didn't wanted Dee because Dee was too boring for him.

Pakao is not a doctor who work at the same place as Dee. his sexuality was never stated and he barely shows up in the book.

Taemrak gender was never clearly stated in the book (in the thai version at least.) but it's heavily implied by their appearance description and Yak choice of pronouns that they're a boy. Taem same with Pakao in the book had zero characterization and mostly there just to be plot points than an actual characters.

I really loved what they've done with the show so far. and although i had fun with the book, i'm way more excited and invested in what going in the show. @shortpplfedup put it best "i read the novel and it is truly porn without plot"

[caligvlasaqvarivm]

Would love to hear your thought on meowrails break up and who they end up with?! Especially interested in Hal <> Nepeta!

Ok! Just a disclaimer before anything: this is not at all saying you shouldnt ship the meowrails, this is just a canon discussion blog and I have noticed... some stuff... but ship whatever you want, I literally don't care, all HCs are valid, etc. etc.

"Everyone has an important job to do." This is a phrase that gets repeated in Hivebent a few times, which makes it important, as Homestuck often uses repetition to build up an "internal lexicon" and deliberately highlight when situations have similar connotations (Hussie discusses this on their Formspring). So what's the context for this specific phrase? Well, it shows up three times, and for at least two of those times, it's associated with failed moirallegiances.

GA: But It Just Means Theres Got To Be Someone Around To Keep An Eye On Them GA: And If Not Me Then Who GA: Everyone Has An Important Job To Do AG: Ok, so you're spying on me. Kind of creepy! Man, m8y8e you should get a l8fe.

And

CC: I will need to connect after my goofball moirail does so I can keep my goggles on )(is nefarious escapades. CC: Its a toug)( job but its important! Everyone )(as an important job to do.

So, okay, apparently the context of this phrase is "this person is in a moirallegiance that will NOT work out"... well, here's the third time it pops up (though it's the first time chronologically):

Your best pal of all is A LITTLE BOSSY, and people wonder why you even bother with him. But someone has to keep him pacified. If not you, then who? Everyone has an important job to do.

So... hm. This isn't the only thing I have to say about meowrails breakup, but it is the most prominent one, and maybe the most damning, depending on how much weight you put into Homestuck's oft-deliberate use of parallels.

Maybe something a bit more damning is the way Hussie speaks about them in the book commentary? Pretty much every time they turn up, he has some comment to make about how Equius doesn't really "need" Nepeta, and about how he tends to talk over her and usurp her agency, like so many shitty boyfriends IRL.

We don't know much about Equius yet, but we get an awful lot of info about him with this excerpt. He's racist, a huge snob, doesn't like swearing, is stern and controlling, has a patronizing fondness for Nepeta, and thinks archery is cool because of its association with nobility. Combine this with the snapshot of his room we'll see soon, and suddenly we have an extensive character portrait. This was all important to establish quickly, because it helps us understand in record time that Equius is in fact one of the greatest characters ever created.

Equius says he appreciates that Nepeta's angry. I guess meaning that he respects an angry disposition, like his own. Especially early on in his characterization, it's suggested he has anger issues (like him taking his rage out on robot dummy combatants). But I'm not sure this trait holds up. Over time, he seems to show a lot more passion about his weird stuff, his passion for archery and muscular horse men, his submissive obsessions, his deference toward those higher on the hemospectrum and fetish-like indulgence in depraved attraction toward those lower. Ultimately he comes off more as a ridiculous nerd, with a soft spot for a lot of silly and creepy shit. My view on this is, it's not that the text lost track of the fact that he was supposed to be angry. It's more that this was his initial state of mind early on, and the more he started blowing off steam with his various indulgences (Aradiabot, etc.) the less he had to be mad about. We just meet him at a really high-strung point in his life. I think it's more accurate to say his "anger" is a form of hyperintense focus on being stern, aloof, proper, and averse to nonsense, which is a facade serving to cover up his inner personality, which is barely in control at all. Like Nepeta suggests, deep down he wants to play the kinds of silly games she plays. He wants to let go completely, and indulge every ludicrous and depraved whim he has. His arc tends to be more about caving to these indulgences, and all the mixed consequences that follow, than resisting them.

Here's [S] Equius: Seek the highbl00d, another playable RPG game. [...] But Christ, why am I talking about that garbage when we are about to review some truly choice material focusing exclusively on your favorite meowrails. It is a great illustration of their tragic dynamic; deeply committed and caring partners in the diamonds quadrant, and yet compromised by Equius and his stubborn class-driven faults, his pathological reverence for his superiors, his forced and probably not genuinely felt sense of disdain for lower bloods like Nepeta, and ultimately his failure to rise above these flaws when presented with a real test of character and friendship. A test imposed, of course, by a boorish murderclown, who from this point onward just ruins fucking everything, constantly.

Hussie is an unreliable narrator (of the "he's deliberately playing a character who's biased, opinionated, and sometimes wrong, because a major theme of Homestuck is that you have to question who's telling the story and if they can be trusted" variety), so it's difficult to parse exactly what he's saying is salient, especially since he talks so damn much. But even so, he constantly goes out of his way to highlight how the meowrails DON'T work out - which is even pretty canon in the comic.

In Hivebent, the two are established as working along this dynamic: Nepeta soothes Equius's anger issues, while Equius keeps Nepeta from recklessly endangering herself (for example, prohibiting her from LARPing). But as Hussie says, Equius's anger problems become basically nonexistent by the time Murderstuck rolls around, and his actual problem is his overindulgence in his fetishes; meanwhile, his bossy, controlling attitude to Nepeta was always kind of suspect, but it actively becomes a source of frustration to her that she can't wait to shirk (he bans her from talking to the humans, and she goes behind his back to do it anyways - even celebrates when Karkat gives her express permission).

In the end, they die for their failures as a moirallegiance - despite being fresh off a feelings jam in a pile, and so, supposedly at their least likely to hurt themselves or others, Equius's horny gets him killed (Hussie has always maintained across multiple platforms that Equius could've easily overpowered Gamzee, he just chose not to because Hot), and Nepeta doesn't listen to his orders to stay put. In later conversations with ARquiussprite, Equius is always framed as the one here who was wrong - who failed to keep Nepeta safe and has something to apologize for. I think it's also pretty important to notice that in the bubbles, Equius is never seen doing so - but IS seen being really weird to Aradias - fully implying that he's actually been avoiding taking accountability to Nepeta in favor of indulging in his fetish shit, out of shame and guilt.

As Hussie says, the meowrails are an important relationship, and when I say they don't work out, I don't mean they shouldn't have been together in the first place. On the contrary; I think they actually were good for each other, way back on Alternia. Nepeta DID keep Equius's frustrations in check, and Equius DID keep Nepeta out of trouble. But as time went on, Equius just got really comfortable with treating Nepeta like an object he owned - something convenient, which he can use when he's feeling sad, and ignore otherwise - and Nepeta started growing frustrated with his increasingly petty control. They grew as people, their needs changed, and they stopped being good for each other, but they stayed together - out of inertia and sunk cost fallacy on Nepeta's end, and on Equius's end, because it was convenient and pleasant (for him) and useful (for him) so why would he throw it away?

While this is something I think could potentially be worked out with relationship therapy, the thing with Homestuck is that it's big into the idea of soulmates, especially in the pale quadrant (which is described with that exact term). Its ultimate thesis on romance is that, while you have to do a lot of personal work in order to be the kind of person who can BE in a soul mates relationship, ultimately a relationship SHOULD have an element of just... easy compatability, idiosyncracies clicking together in just the right way to bring out the best in both parties. It's idealized, and there's criticism to be made about that, but that's still ultimately how romance kind of functions in Homestuck. The perfect match is out there for you, and while you have some growing to do in order to be ready for it, it's supposed to be easy once you get there. Consider how Eridan can calm Karkat down literally just by talking to him normally, or how Sollux regularly outright professes that Feferi's just fucking amazing - these are relationships where the involved parties don't need to tell themselves "everyone has an important job to do" with grit teeth to justify keeping the relationship going.

Meowrails lacks that inherent compatability, according to the evidence, but of course, that brings up the question of who they SHOULD date in pale instead. Hey, did you ever notice that Dirk (and by extension, Hal) are EXTREMELY Equius-coded?

So here's the thing. Hal's favorite alpha kid is Roxy, who is also pretty Nepeta-themed, being a cat-associated Rogue. They regularly flirtLARP with each other, but when we get a glimpse of this so called flirtLARPing, it's actually Roxy almost, but not quite, getting Hal to admit that he's actually not really that into Jake, he just feels obligated, as an extension of Dirk, to make DirkJake happen. They almost, but not quite, have a feelings jam.

Meanwhile, Hal outright calls his conversation with Dirk, as Dirk grapples with whether or not he should kill Hal, a "feelings jam", and Dirk also has a convo with Caliborn about how maybe he should consider the merits of selfcest.

What these interactions hint at, to me, is Nepeta <> Hal, and Equius <> Dirk... and I think if you consider it from the standpoint of their personalities, it works, too?

Nepeta is pretty consistently shown to have a knack for knowing how other people actually feel. Her shipping charts are incorrect in terms of compatability, but she's got a scary knack for reading intentions and desires - as befits a non-destructive Heart player. She's able to pinpoint that Eridan's advances on her are insincere, but he's not that bad a guy; she notices that Karkat is a big softie who loves his friends so much; she correctly reads that Equius is a big ol' goofball who loves to play games. Hal, as a Mind player, and even more as originally being a Dirk splinter and an AI, is deeply distressed by his lack of "self"-hood; it's Roxy who calls out first and most blatantly that he's clearly his own guy with his own real feelings, which seems to be why he gravitates toward her. Nepeta would do this even harder, since it's kind of her entire Thing, and I think Hal would really appreciate that, since Hal is at his worst when he thinks he's acting in someone else's best interest (Sylph lol).

Meanwhile, what Nepeta really needs IS an enabler. She's a rebellious soul with radical ideas about how the hemospectrum is stupid and dumb, and she's RIGHT and she should SAY IT. Hal's amazing at giving people what they "want", pulling strings to ensure DirkJake happens, while also framing it as something that Jake would want - this bombastic, action hero kiss-in-front-of-a-volcano. Nepeta's clearly attracted to characters with Equius-esque qualities, but after spending so long with Equius, who does nothing but push her down with a patronizing "hush, greenblood, it's for your own good," I think she would do well with an insane partner in crime who instead goes "fuck yeah girl, let's make this shit happen." Especially since her personal insecurities are that other people will find her dumb and silly (an impression that Equius certainly didn't HELP with...) - having Hal in her corner going "uhhh you're literally my favorite and I will engineer situations to fall directly in your favor?" would be a huge help to her.

I'm actually not entirely sold on equius <> dirk - they're maybe too similar? - i have in my notes here john <> dirk and equius <> jake. idk. the shipping web starts to get complicated

[zutarasbuff]

I watched the Netflix adaptation of ATLA today and being a hardcore fan of the OG series who knows every nook and cranny of the ATLA world, here’s my unbiased and truly honest review (It contains both the negatives and positives of the series, so dear reader please enter to read at your own risk).

Firstly, let’s talk about the wonderful additions to the already magical world of ATLA.

1. The depth of the genocide

Well, I always wanted to know how the air nomads were suddenly wiped out and how it would have been for them? Why didn’t they resist? I got my answers in the first episode where we explore how the unhinged power of the comet was “actually” used to create a genocide on a massive level. Before that, I had only heard about it in the OG series. Those few scenes were so powerful that they had left me sobbing uncontrollably and Gyatso’s concern regarding Aang had me bawling.

2. Suki’s Characterization

In the OG series, we do find our Suki the fiercest warrior, but here in the live action, she’s an absolute goddess. She is perfect in every sense. She understands the responsibilities she has being a non-bender and is fearless. Her character is what I believe to be was the strongest one of all.

3. Graphics & Music

We never talk about a film by M.Night (that didn’t happen), but this one is really a visual treat for you can readily set yourself up for some mind-blowing bending scenes, plus the fight scenes are quite impressive. It seems that the VFX team had really done their homework this time. Plus, both Momo and Appa are so freaking cute. I loved the fluffy Appa. Good work over there. The revival of the OG theme is also a highlight plus the sun warriors’ chanting in the end is given a new but intriguing twist. The background music especially in scenes where Aang unravels his Avatar powers is mystical in every aspect.

4. Life in motion

I don’t know about others, but I have always been a sucker for animation as well as live-action where characters are operating even in the direst of the circumstances. Life is there and even after they know what happened a hundred years ago, they are still trying to believe and regain their past confidence. This is beautifully portrayed and I was very much impressed by the way people are continuing their day-to-day activities even in the middle of a crisis.

Overall, the series serves the purpose of an adaptation carrying its unique colors (at least better than the previous live-action disaster that didn’t happen).

Now let’s move to the bad side, and when I say it’s honestly what I felt, you need to take my word on it being a hardcore Atla fan.

1. Weak writing & lots of exposition

ATLA remains at a 9.2 IMDB rating even after years because of its writing, strong plot, and very few plot holes. This time, the writers are the real amateur ones. Despite adding more to the already flourishing universe of ATLA, sadly, they killed the quest of the viewer to find answers. There is too much exposition. It seems that every character just wants to see the end of the war and keeps on revealing things after things. Plus, some of the OG moments that were the soul of the series are not even included. The way Aang finds Momo and then decides to keep it with him as a last remnant of their bygone air nomad civilization is nowhere to be found. In fact, the replacement of Roku with Kyoshi is the biggest disappointment. I love Kyoshi like no one else but that was unnecessary as per the cycle.

2. Bland acting

Even the worst writing shots can be digested only if the acting appears real good. Sadly, this is another issue that I found with the NETFLIXED version. No doubt the characters must have done a lot of hard work for this, yet, they lack the expressive power. Gordon as Aang is super cute but the goofiness is not even there. Katara seems a nerd who doesn’t like to talk much even when it’s necessary and Sokka’s jokes are forced. Meanwhile, Dallas seems to save the day at one point, but again his over-the-top angry young man attitude ruins it for me. Maybe the actors will learn from the criticism in the upcoming season (if Netflix plans to go with it).

3. Major changes

Yes, it’s okay to change the narrative while you are working on an adaptation, but targeting the loyal viewers who are OG fans of ATLA means that you have to be very careful when you are trying to implement your changes in scenes that are the real soul of the OG. You can’t change the Omashu myth as if it’s nothing when we actually see even the cute animated version of the folklore. You cannot portray Roku more as a perpetrator of the genocide and Bumi as the evil king when in truth he’s the mad king who’s known for his genius ways of teaching. I hated that. Plus, reducing Zhao’s authority and taking Uncle Iroh’s sarcastic attitude is just meh. Mai again doesn’t even seem perfect as a cast. Jet is good as far as the aesthetics are concerned but Jet being in Omashu doesn’t even sit right with me. The amalgamation of multiple storylines creates so much confusion and this persists till the end.

4. Bending at convenience

We all know how Katara’s bending progressed throughout the first season and it’s little effort each day. However, in series, one day she’s unable to bend even a droplet of water and the next day she is capable of producing ice crystals. This was unacceptable for me because I was anticipating her learning strategies. Besides, Aang doesn’t learn much water bending throughout this season and in the end, it’s him being the savior in Avatar state. Thoughtless bending sucks despite the great VFX and that’s one thing at which you can’t convince me otherwise.

5. Forced friendships

We all know how it took some time for Sokka to embrace Aang as a chum. However, here Sokka keeps on calling him “the kid” and remains mostly alienated from Aang. Talking to Katara, then she also seems more interested in helping Avatar fulfill his goal than being with a friend. I hated the scene where Aang comes into the Avatar state and instead of hugging him just like in the OG series, Katara runs along Sokka and keeps on calling his name. How is that going to build any organic friendship? I think the first mistake began right from the very moment when Aang was taken back to Wolf Cove on a boat in his unconscious state. Upon opening his eyes, the first person he finds near him is neither Katara nor Sokka but a tribesman who’s playing guessing games. Writers were really high when they wrote that.

6. Lack of the four nations’ biodiversity

Maybe in live action, it’s difficult to create all the marvels of the four nations when we talk about their natural biodiversity. In the OG series, it is indicated by Aang that even after 112 years, he has still not forgotten the animals that define different regions in the four kingdoms and that’s exactly why he wants to finish those “important tasks” alongside saving the world. His important tasks included keeping a check on the natural biodiversity of the lands and exploring whether the Hundred Years’ War had not damaged the majestic animals. Actually, his first dialogue right after regaining consciousness is to go for an otter penguin’s ride with Katara. When I thought about that I felt that somewhere in Aang’s mind he was always connected to nature and that’s why he wanted to regain that connection by being an avatar. Sadly we never see much of the biodiversity but I hoped that maybe they will.

Also, how come Aang had that silent whistle for one hundred years when in the series he only discovers that accidentally? I missed the OG Yip Yip for our Appa. There are lots and lots of problems with the Netflix version, and no I am not being a nitpicker. I appreciate how the current creators credited the original ones, but now I know why Bryan and Michael bade farewell to this project. On a scale of 10, it’s a 4 for me or 4.5 if I am being too generous.

If I am asked to review the live action in a single line, I would only say this:

“The Netflixed ATLA makes you go back to the OG series and you end up watching the animation to give your mind a much-needed respite from a carefully crafted artistic disaster aimed at the sensationalized generation.”

[bookishjules]

there's a specific paragraph in wottg that's been haunting me since i read it. and i can't keep putting off addressing it in fear of not having the right words to do so, so here we go..

from the lines highlighted in blue and yellow here, two very different stories seem to be being told.

on the one hand, in blue, we have percabeth as we have always known them--in sync. a well-oiled machine of a team that functions better together, drawing from each other's strengths and treating each other as equals. this is how their relationship is supposed to function. we know this from books full of moments when we got to see the development of their relationship, relying on and understanding each other more and more as the years pass by.

in theory, the yellow should support the claim of synchronicity the blue makes (and rightly so according to past books), and ostensibly that seems to be the case. percy as the narrator is just making a silly aside before realizing it doesn't work and shifting back to his original statement, right? but there's an implication here that within the team, the focus is annabeth. she's the only one who belongs there and there's no room for a p or a j or any amount of percy at all.

this doesn't line up with the blue statements at all, because in order for annabeth to be the more important member of the team, the two of them can't be equals, which throws off the balance, disallows synchronicity, and makes collaboration difficult at best. could you say, in a vacuum, that the intention here was what mattered and that the truth lies in that which we, the audience, have known to be true for years? yes, certainly. but the thing is, this paragraph does not exist in a vacuum, and in fact, of the two competing stories, i'm far more inclined to point to the yellow as a better representation of the book surrounding it and the representation of the unit that is percy and annabeth therein.

over and again in wottg we see the uncharacteristic, and pretty much unprecedented, imbalance in their team. from the narration, it's clear that percy holds himself at a lower standing than annabeth, but it's also clear from the story as a whole that annabeth is similarly inclined. percy not only believes he can't do as much as previous books told us he could, but his actions seem to prove that lack of maturity. he relies on annabeth more than he ever has, and not in a cute way. he looks to annabeth to solve all his problems because he doesn't trust himself, and annabeth is doing nothing to show him he should. she's surprised when he has good ideas, surprised when he comforts her, surprised when he does or says anything competent. and percy expects it. it's clear he's pretty much given up trying to solve problems etc., because even when he does manage to accomplish something without annabeth, she tells him he did it wrong or makes fun of him (and again, not in a cute way).

there are so many conversations that could be had here regarding blatant shifts in characterization that have little to do with trauma or codependency, but what i really want to point out is how this book, and the author who wrote it, really doesn't seem to understand or properly represent just how big of an effect these changes in the characters seem to be having on their relationship with one another. if a layman were to read wottg, i can't imagine they could read this paragraph and believe the lines in blue. because it's simply not true for this iteration of percy and annabeth.

just as it can be understood how well percy and annabeth worked together by being shown how much they respected and trusted one another throughout pjo, it must also be understood that the dramatic imbalance in authority and intelligence being shown in wottg hold a similar weight of truth, no matter what the narrative otherwise states, or how insistent it is in telling us that nothing has changed in percy and annabeth's relationship. just because the author wants it to be true, and wants his reader to believe what they are being told, does not erase the very real actions of the character throughout the book.

[frenchkanna1808]

Why chapter 3 was a enormous let down and the possible negative impact it might have on the rest of the game

I remember after finishing chapter three one how exicted I was, how deeply impressed I was with the banquet and the qtaro development. And I mean I wasn't the only one, again and again I had seen so much praise about chapter three and how awesome it was. How great midori was as a villain (my like idk how many words analysis about him is very much explicit of that), How amazing qtaro development was, and mainly how great the banquet was, and I had seen the claim around that 3-1 was as great or even better than 2-2. And so I had decided after the hype fell down a little to play yttd again with friends, and that when I realized, god , wait, chapter three is like, extremely mid. I played the entire chapter 1a and it only got to the heights of 1b. I at first couldn’t tell what was wrong with the game, why did it feel so disappointing? And after a while I have finally looked back at the chapter, and yes this chapter is not only extremely lackluster but also a very bad prediction for the future of yttd if 3-2 is written the same. So here in this long french analysis I will discuss the main problem of chapter three the absolute shit characterization of almost all the characters. But also the destruction of emotion route and the crazy pacing

Hi like always, I’m frenchgremlim, I’m the french kanna fan I write stupid essays on yttd from time to time, this one will be compared to some of my others quite negative. But I will try as hard as possible to be an objective critic. This isnt meant to attack any fan of any character no any fan of yttd 3-2, I just want to discuss a possible problem in yttd writing that personally scares me for the future, this topic was one I brought up a lot in many post, if you have seen any of them then well you will already know some of my grievances with chapter 3. So with all my love thank you for reading this, lets start!

THE GOOD STUFF

Chapter Three 1 definitely has many great points. First off, the plot progression is pretty great, we get ton of infos on asunaro, on ways to escape and clues about the hades incident. Midori was a blast and bullying him became my favorite pastime. The dummies were an amazing concept (remember the word concept it will be important for the rest). Despite me disliking ranmaru deepy his development was interresting. THE QTARO DEVELOPMENT WAS CRAZY GOOD, for the first time I got to be justified for being a qtaro fan since chapter 2. Keiji had ton of development in this chapter??? that is very rare considering how much of a stable character he is troughout the game, his relationship with sara is really highlighted and I think thats great. Gin stays the most consistent character in yttd and despite normally being something I dislike in a game I think it makes sense considering gin is pretty much sara anchor in reality in both routes. The obstructors were an amazing idea and I think, adding new mechanics like that truly freshen up the game. Also shin ai is litteraly one of the best idea ever and maple too. And of course the banquet was a thrilling nerve wrecking experience with so many twist and turns that truly got your blood pumping……. Thats my praise for chapter three, the thing that doesn’t make it outright bad but correct. See how I mentioned a few characters by name, but not all, you can pretty much count any of the other either barely present or useless to the narrative. Which will lead me to my first point, the absolute character waste that genuinely every single yttd character going from the least worst to the worst (if you know me you know who will be last).

AN ENSEMBLE CAST IS AN ENSEMBLE NOT SARA AND HER MINIONS NANKIDAI

MAI AND KURUMADA

okay so I will start with them because funny enough new characters have better characterization, than actual character we knew since chapter 1. If I had a word to describe both ami and kurumada it would be good but lacking. Let’s start with mai, I think mai concept of her starting has a sort of traitor and then becoming a true ally is very good, same for kurumada startinga s a heartless asshole only caring about himself to him literally on the ground crying that keiji doesn’t cause the doom of the other dummies. Overall Mai and Kurumada have the strongest character out of all the dumies and are truly multi layered characters. Mai is depicted as a fake idol like girl who hides herself behing the pop like smilling persona (inverse of shin) to hide the fact that she is terrified but can also be a cunning manipulative person too. She truly wants the best for others but is terrified that she might die and would do anything to survive. Kurumada is a brute, he acts like a bully toward the others, act heartless and values himself over others, he has a sort of superiority complex and rejects affection. But trough the power of the bucket, kurumada starts to warm up, and he starts truly caring about the others. He starts devaluing his life after getting destroyed by maple. But in the end he was the only one of the surviving dummies wishing not to be brought back but avenged. Both have interesting dynamic with their pairs and overall importance on the narrative, something that can’t be said about all dummies. Why lacking then. I think kurumada and mai still suffer from what I will call the dummies problem, they feel like there is so much like missed potential its crazy. Seriously we had like one scene where kurumada learns to warm up to kanna, thats it, it feels like we had the basics but it was very rushed. Which is a shame considering THIS IS THE THING THAT MAKES KURUMADA CHANGE AS A PERSON. Mai has less of this problem I think, but still she has no relationship with like anyone in the group except qtaro ( I still think in logic route we should have had the obvious parralele between her actions and like keiji/shin actions it feels like wasted potential) But again this is a flaw that is ommitable since reminder the characters are well written despite being rushed. What isnt forgivable is that kurumada has no relationship at all with shin in logic route, its clear that nankidai envisioned emotion route kurumada before logic route kurumada. Overall I think the pairing system was terribly done for some characters, which is apart of the overrall dummies syndrome.

But lets take a look at the other dummies where my praise will quickly end.

ANZU AND HAYASAKA:

I am deeply sorry for anyone who is a fan of those characters, but I need to be objective, anzu and hayasaka are the most nonexistent characters in yttd. I complain about the lack of kanna content, but the absolute uselessness of those two is crazy disappointing. Remember how I described mai and kurumada, full rich descriptions, what is anzu character. She is a dumb clown girl, thats it there is nothing more. And the problem isnt that she is a simple character on paper, because for example mishima is quite a simple character, its how nankidai decided to utilize them. Lets start with anzu because I think she shows off well the problem, what does anzu do during the narrative, when is she useful, not even like talking about like puzzles or stuff like that kanna also doesn’t help that much, I mean overrall, what is the goal of this character. A character can be a bit flater personaility wise but he has to HAVE A REASON TO EXIST EXCEPT FILLING IN THE BLANKS.

Why was she paired with the yabusames, because reminder all the dummies were paired with a human for a reason, sara with ranmaru because of joe, keiji and hinako because they are edgy emo dyed hair dodgy person, kurumada with greenbling because he has one of the highest percentages while they have some of the lowest, hayasaka because he is similar to mishima with gin. Anzu was paired up with the yabusame, because she had to be paired up with someone, she has NO relationship with them, isnt a contrast isnt anything. My problem with anzu is that she is a a boring character because they did NOTHING WITH HER, she feels like an C rated anime girl in the fucking cast of death note. And no I’m not saying a nice person is boring not at all kanna is my favourite character of fiction, what I’m saying Is that creating just a nice girl is a problem. If we go to hayasaka its the same, which is even worse because hayasaka IS TIED TO THE NARRATIVE. I would say haysaka is more plot interresting but his personality is so boring that it doesn’t help at all. He is just clone non chad mishima. They can die and it will genuinely almost affect nothing at all(which is also a problem the death problem). You get surprised when they actually talk because you had forgotten they existed. Thats how I will define the dummies problem, it feels like the characters were added but had very limited impact in the end, because while it makes sense for asunaro it doesn’t make sense for the cast, why add characters if they have no meaning, thats just bad writing.And why does that piss me off, because you could have done so much more. Remember the mishima comparaison? Mishima is the most good guy ever made but how does he shine, by his interractions, he is a light of joy and good and shines from how kind he is towards others. He’s a bit silly but his unwaring kindness and undertsanding is what makes him a compelling character. Especially I contrast with brooding characters in the cast. ANZU COULD HAVE BEEN THAT. I think especially in logic route, anzu isnt the brightest light bulb, but she can shine in her unwaring compassion, her passion is making others laugh as a clown. While she isnt the best and can sound awkard she tries her best for others, because thats whats right to do, despite how much she is scared. After keiji gets coffined, anzu goes to see keiji in the coffin and tries to cheer him up with the worst joke ever and it makes him truly laughs from how bad it is. Reko see nao painting and gets depressed about it,feeling like she was able to save nobody whether her brother or lover, anzu decides to show her some epic clown skills and absolutely fails, reko laughs finding the kiddo endearing. After alice discovers that midori had hanged out with reko, he wants to destroy him and get filled with rage but anzu tells him to do the breathing exercises she used to do before any performance. Anzu could be used as this idea of childlike kindness a little light in the dark of the group especially in logic route. She can still be a fail girl clown make her bicker with kurumada more, make her be so impressed by how calm mai is, make her despize ranmaru in logic route, make her a dumb kid with tehir cool aunt/uncle with the yabusames. MAKE HER EXIST. SAME FOR HAYASAKA, hayasaka is supposed to be a straight man type character make him even more of a loser, make him silently judge the crazy ass people he is with, do his development litteraly not Five minutes before his death. A character being simple isnt a problem, what is a problem is not using them to their fullest, and for me in the state that they are in currently anzu and hayasaka are bad characters in term of the narrative.

SHIN

Okay so shin isnt a character in chapter three, he’s just there, I’m putting that low because he is a main character. The problem with shin being a bot, is that we just left one of the craziest chapters for him to do nothing, I understand him being stunned by midori and stuff. But I still think this is quite a letdown, especially for the obvious parralels between him and maple almost never being utilized. You can tell nankidai didn’t have the time or want to do much with the guy, which is bonkers considering THIS IS THE CHAPTER WE MEET HIS ABUSER. Then why isnt shin lower? Because shin is the type of character to have development throughout the story, who has a continuous storyline etc, which means that even though he didn’t get anything special this chapter next chapter he will get it. Its not a case of actual waste of character ,its more so, putting the character in the drawer for now. I am not scared for shin writing because he will always get something and always had something. Which makes is non importance in chapter 3-1 not that bad

KANNA

OKAY SO I WILL TRY TO NOT BE BIASED. Kanna characterization disappointing me In 3-1. As the biggest kanna fan, I think nankidai doesn’t care that much about her character as an actual protagonist. This one will be a bit longer but to explain why it was bad I need to do some sidenotes.

Sara is the protagonist of yttd, and keiji and gin are deutarogonist (idk how its written forgive me I’m french, please tell me if its badly written). Sara throughout the story goes trough many changes and developments, while characters like gin and keiji stay pretty much the same the whole story before 3-1. Sara main development is her living with the grief of losing joe and her importance in the group. While keiji is this morally grey, in the end bad person because of his actions guy, that still deeply cares and wants the best for sara, but what he does for her like putting so much responsibility isnt good for her in the end, it creates this codependent dynamic where keiji wishes to protect sara but in the teaches her how to be like him despite him wishing the inverse. Is keiji a good influence? A bad one ? I would say a bad one, but does he care for her? He sures do, and would do anything to protect her. Why am I going a tangent you might say, because shin and kanna are the mirror to keiji and sara. They are in the end the same. Kanna is a direct parralel to sara story wise, which is why I think if the story was twisted the point of view would be either shin or kanna. Kanna is the emotional core of the game, the soul I would say even, her development has a character is the deepest and most complex. Going trough hell, wishing to die to then deciding to live not herself yet but for the people that loved her, Kanna went trough some of the worst events out of the cast, litteraly everyone she even remotely liked or was friends with dies. And yet she decided to stand, for them, for their wishes, that makes kanna the most emotionally strong character in all of yttd. Because compared to sara she had almost no help and was left to her suicidal tendencies. Kanna represents hope and bravery in its purest sense. Thats why kanna is the soul of yttd, she litteraly made shin realised that he could care about others again. But despite all of that kanna was always in the shadow of someone, lacking self worth and self confidence feeling the need to be protected by others, hiding behind shin schemes despite how dodgy they were. Shin was her shield, and now he is gone, and kanna has never been more alone than now. Two people died for her, she hates herself and wishes to go seem them deeply, but she has to stand up for them. And what do we get for chapter three!!!! One scene. Thats fucking it. Okay maybe a little bit more but like god its bad. Kanna is implied in one scene that she doesn’t understand why shin would sacrifice himself for her, which implies that she doesn’t understand that people could love her, which could imply that in general she doesn’t get why either kugie or shin did this for her. COOL ONE IMPLICATION. And like if you read the scene where she says that she will like be epic for them, its implied that kanna doesn’t feel better and is still very much suicidal she still hates herself, kanna doesn’t think she can live, but she has to survive for them. Kanna is implied to be in survival mode more than having hope to be outside. OKAY COOL.

Now I have a question, why does for kanna we have to acively search for her to have any actual development and like relevance, while for other character its more laid out. Why does sara get a scene where we see her change mentality after seeing the joe ai, while kanna GETS OFF SCREEN DEVELOPMENT. IF THERE IS ANYTHING I HATE ITS OFF SCREEN DEVELOPMENT. WE SHOULDN'T HAVE TO GUESS A REASON A CHARACTER CHANGED. Plus kanna is a victim of this almost all the time, which is why people call her flat or not as interesting as shin (I heavily disagree I could write so many pages about her). Kanna is a character which is made in subtlety, which isnt a problem, what is a problem is that she is perhaps the only one. Kanna like I said is a very important character for both routes and yet she is barely treaten has a main protagonist, she is a sidekick, and thats a problem. Because of that her individuality and complexities are not explored. For example I think kanna has many many actual flaws that are barely treated in the narrative, she is far from a perfect kind person, but never tackled on. Kanna is a character that not only never gets a W but also get no breathing room. THIS IS THE FIRST CHAPTER KANNA IS MORE PROACTIVE AND YET WE DONT SEE HOW HER. Yes there is some things that show that, but again its not protagonist level of development, it feels like non important side character development for a character that shouldn’t be that. Kanna SHOULD be a protagonist of yttd, and should get finally her chance to shine instead of always being in someone shadow. I not making pessimistic claims right now since the last chapter isnt out, but I’m very much not hopeful about how nankidai will handle her #challengewriteafemalecharacterwiththesamerespecthasamaleone.

ALICE AND REKO

I Have already written many post about this, but post chapter 2-1, Nankidai had no idea what to do with yabusames, they havent had any actual interresting impact except from lore in any chapter. They become background character especially after nao death. Despite being actual game changing choice, alice and reko are useless to the narrative. WHY? Because nankidai had decided to get them killed by sheep boy, and since nankidai clearly wrote emotion route before logic route, in emotion route he had no idea what to do with them so the became npc’s. Alice relaionship with cast has not evolved from chapter 1, and reko became just one of sara goons. I think this ties into another problem, the emotion route problem, what should make emotion route compelling the character which is supposed to represent it, kanna and the emotion route based choices, but since kanna and the other yabusame gets zero content, emotion route seems like the least interesting route. Because nankidai was more lazy doing it which is a clear problem. That affects the yabusame heavily, sicne he had no plans with them past death. Thats why they are static. Its also linked to another problem which I will mention later. But yes nankidai simply doesn’t know what to do with them, which is especially worst for alice a character that is LINKED TO THE ENTIRE CHAPTER. I think its not only a waste of alice and reko, but also a sign of favoritism. I think nankidai simply cares less about complex ideas for emotion route, I will perhaps write in another post all he could have written interesting for emotion route. Now lets get into THE REAL STINKER OF THE CHAPTER.

NAO EGOKORO: HOW TO MESS UP THE MESSAGE OF CHARACTER

What. The. Actual.shit. I have no words except from that. This out of every charcater bothers me probably the most and actively pisses me off. Imagine writing a character, a female character who was shown as capable and strong despite being an emotional person, imagine creating a character which showed the defiance of asunaro, the fact that yes despite their overwhelming sense of control and power, that there was in fact a way to beat them at their games, imagine writing a character that fought against adversity and had the only canonical route where despite all their wishes that character won, imagine creating a character with a doomed fate which is in direct parallel to another character and shows why he somewhat has the right to be scarred, imagine writing a tragic story about a girl who was only brought here to suffer and be a tool for the progression of A MAN in the canonical narrative, imagine writing a character who entire existence was a tool for asunaro and died because of them, imagine writing that the floormasters consider her useless and non important because she isnt some holy participants, imagine writing that. Okay so imagine that after this poignant ending you decide to do another chapter where you mention her 1 time in a non essential dialogue. THIS IS INSULTING. Because what this honestly says is that, yes nao life truly was unimportant, we get references to greenbling death in the chapter, NAO DIED LIKE THREE HOURS AGO. THIS MESSES UP THE ENTIRE MESSAGE.

This feels like nao was some kind of rug, that when not needed could be trhown out, was her death just shock value, was that the goal of her character. I wanna remind that yes nao was only brought to boost mishima percentages, which mean she was only a tool for another man progression. THERE IS SO MUCH META POSSIBLE COMMENTARY ON THIS. Asunaro who uses children and women as toys for their own goals, that they will throw out when not needed. But instead the fact that nao was completely forgotten just deepens this idea that yes in fact they were right, she was unimportant, and thst deeply isulting I think. Why does every chapter mishima comes back while we get no mention of nao. Why is there a clear focus in this game about more stereo typically strong stoic figures, isn't this entire game about the conflict between emotion and logic. Why does characters like kanna and nao representations of the conflict get zero content. Characters like kanna and nao MATTER, they are perhaps some of the only representation of empowerment that people like me can relate. Because I will be truthful, logic route is in fact not the good choice, not in narrative standpoint (logic route is awesome for the narrative for sure), in a moral standpoint, its an extremely good idea of course. But the message of the game is that in the end its wrong, it’s a wrong choice to act or pretend to be an emotionless logic based robot, keiji is in the wrong, shin is in the wrong, midori is in the wrong. Whats the point of a moral dilemma if you don’t talk about it from one side. THEN WHY DOES THE CHARACTERS THAT REPRESENT THE INVERSE GET ZERO CONTENT. I think nao disappearance is not only one of the most disappointing things in all of yttd but genuinely gets me scared for the future of yttd themes.

Now that we finished every character, you may wonder, why, why is this chapter characterization so bad? What even happened? Ill tell you what happened, there is two reason everything went to shit and let me list it here:

THE SARA PROBLEM OR WHY THIS CHAPTER PLOT FOCUS IS ASS .

YTTD chapter three was way more plot focused than any of the chapters I would say, and honestly thats great for the narrative, if only it was done well. Remember my speeches about the characters about how like 60% of the cast is useless to the narrative, characters we know since a while, why do characters have no development, why does the dummies gets jack shit to do etc. Thats because of one thing, this chapter prioritized PLOT over CHARACTERS. And how can I claim this, because most scenes are sara and her doing everything. This chapter wasn't really about her, at all even, yet we have focused more on her reactions to the events that literally any characters. Chapter three at least half of it shouldn't have been sara focused. You might say what are you on about french? I’m gonna explain. I wanna state some example to show my point clearer, the reveal of why non candidates were brought here, why, in the flipping heck is sara the charcter in particular they choose to only know that, to have the big emotional scene, why especially in logic route, why?????? Yes she knew nao, sure thing, yeah she knew kai, but she wasn't the only person that knew them, sara didn’t even like mention nao almost the whole chapter, you want me to buy some emotional ass scene, for a charcter you barely even cared about showing in the narrative. I could think of a million characters who knwing this would flip out and have ACTUAL CHARACTER MOMENTS (kanna, reko, shin when he would learn that they brought kugie only to die which in the end CAUSED KANNA TO BECOME SUICIDAL AND DECIDE TO KILL HERSELF, GIN).

Another example the final scene where sara presses the button to get rid of midori that scene feels so empty, it doesn’t feel like a revenge or anything, midori has no emotional connection or link to sara, it doesn’t feel deserved, why out of everyone of the cast, why is midori getting killed by the person who he hurted the least. It feels like yeah sara the protag so she has to do it, it doesn’t feel cathartic because the characters that deserved the most to get this final bow didn’t get to get it. IM PRETTY SURE ANYONE IN THE ROOM COULD HAVE PRESSED THE BUTTON AND IT WOULD HAVE BEEN MORE EMOTIONALLY DRIVEN. I wanna discuss emotion route sara in particular, sara isnt as interresting as before in emotion route, since now she is healing and is closing her arc, which means that compared to logic route you don’t really have this want to see her arc which make scenes that should have been about other characters feel even more flat. I am not saying we should stop having sara as a protag no no of course, my problem is that we have seen that sara can work as the protag while focusing on other characters drama.

Example chapter 2-1, in 2-1 the focus is on reko and alice, and yet sara still has conflicts for herself, but they don’t seem to overpower the narrative. This intense sara focus destroyed the other characters screen time, and caused a lot of scenes that should hav been more impact to be less impact. Sara story in emotion route should have been the keiji stuff an ranmaru stuff mainly(and the whole logic route sara becoming crazy stuff too), the whole conflict with midori just felt like it was created only for the narrative. NOW I CAN FINNALY COME TO MY POINT. The sara focus was because yttd decided to focus more on the plot progression that character driven story, thats why sara does everything, thats why the characters have overall less to do. And imma be honest I did not come for yttd for the plot, people love yttd because of THE CHARACTERS, why do people play logic route, because they want to see shin evolve and sara too, why do people save kanna to fullfill shin wishes and save a kid they care for, what most people play yttd for is not the plot. YTTD IS A CHARACTERS DRIVEN STORY, characters not character. I genuinely don’t give a flying fuck about the plot if the characters are non existant, a bad plot can be carried by good characters, but a good plot will never carry bad characters. I know we are getting closer to the end, but yttd always had that balance between action and character moments. But I don’t think its only the direction of the story that is faulty. ITS the:

PACING

YTTD CHAPTER THREE PACING, wow we met this new guy midori, WTF REKO DEAD, anyway who cares lets move on. Thats it thats the pacing. THE CHAPTER IS WA TOO FAST. We go trough plot points so quiclky, we randmoly see reko/alice die then nothing, they don’t exist anymore, characters the cast know since the beginning, again for the dummies its logical, in a way, they don’t really know them, plus they are robots. RANDOM AHH REVEAL KANNA AND SHIN ARE ACTUAL SIBLINGS THEN NOTHING, NO MENTION, NO ACTUAL IMPORTANCE TO THE ROUTE, this only felt like this was added in for plot for logic route so that we know in advance that shin and kanna are siblings. The dummies just die at the end of the chapter in five minutes, qtaro dies in five minutes then the chapter ends. How do you want us to feel emotional weight for a character dying if you give us no time, joe death is one of the most viceral death because its slow and painful to watch, while if he died in chpater three he would have just exploed for shock value. Shock value thats how reko and alice death felt like, just that. Sara figuring out the whole participant thing, shock value thats it. The pacing is just horrible in this chapter so much so that I had actually forgotten kanna and shin were revealed to be siblings at the end of my first playtrough

CONCLUSION

I don’t think chapter three was bad per say, half of it was amazing truly, but the other half was incredibly disappointing, the whack characterization, the horrible plot focus and the pacing are terrible. Emotion route suffered the most because of this and I think on an objective standpoint is the worst written route (i’m the biggest emotion route glazer but like I can’t lie on how bad nankidai fumbled). I still love yttd and am full of hope that chapter three two will be the most amazing thing ever made, but I am scared of dissapointement now, I hope nankidai comes back to his roots wirting like chapter 2. If you like loved chapter 3-1 then honestly I wish I was you, I don’t like being dissapointed, I don’t like being let down, I am not critiquing from a place of hatred but from a very passionate fan, I know my opinion is pehaps not one of the most shared but as a fan of yttd for so many years I think we need to open our eyes to flaws. Perhap chapter 3-2 will fix everything I say and I hope so, I hope this post becomes outdated, but if it doesn’t then it would in my eyes truly ruin yttd. It won’t change chapter 2-2 changed my life and that kanna kizuchi saved me from a lot of dark times.I love yttd and i belive in nankidai and that why as a fan we shoudl critic his work

[myokk]

My January Reading List

This year I really want to get back into the habit of devouring good books and reading like crazy again!♥️♥️♥️ Normally every year, I read at least 30 books, and tbh I’m quite sad I didn’t read as much last year🥲 I ALSO want to highlight some of the amazing fics I’m reading as well bc there is so much talent out there😭♥️

FICS:

When We’re Older by @writing-intheundercroft 🫶🫶🫶 this is the first fic I’ve had the pleasure of reading in this fandom and IT IS SO SO SO INCREDIBLE !!! The way she’s written Sebastian is just spot-on and I’m afraid that Theo has stolen my heart♥️ I’m the slowest reader when I leave comments, so I haven’t quite finished yet but I’m savoring every last chapter that’s left to me🫶

The Call of the Void by @sloanesallow ANOTHER delightful fic !!! I find myself smiling SO much at their banter & how she’s characterized Sebastián. And SIOBHAN. SLOANE. AAÑDLCKJDJFKSKD I LOVE HER!!!!! The writing is just SO good & I love how all of the scenes in-between game events are fleshed out and imagined🫶

ALL OF @jackalope-patronus oneshots and writing🫠🫠🫠 delicious amazing writing and she just GETS IT !!!! Her way of writing beautiful scenes and emotions is just *chef’s kiss* I’m also such a sucker for things being peripd accurate (my main fandom is pride and prejudice/jane austen) & she fills that void in my heart♥️

@diamjem just started posting her writing here, but I already love it so much🥹🥹🥹 the sweetest romance/fluff/pining and I was smiling SO MUCH as I read it♥️♥️♥️

Untouchable by PhantomFish on AO3. I LOVE Tomione (I just love moral greyness and manipulation🤭) & this was like a hidden gem I just happened to stumble upon. I LOVE her characterizations of everyone and the whole premise and writing is SO GOOD🫠 I also love horror & this fic does NOT shy away from the visceral, which I love !!! It gives me confidence that my own fic with Eloise bc I also don’t shy away from the horror in it or sanitize what happens. This fic really makes my brain buzz with trying to figure out where it’s going and I love thst♥️

BOOKS:

I only read The Last Picture Show by Larry McMurtry this month. He is my favorite author for a reason!!!!! I genuinely don’t think I could recommend this book to anyone I don’t actually talk with regularly (😆) BUT I am completely blown away by him and his writing. Within a few paragraphs he manages to perfectly convey a person and how they are, and all of the characters of this book are moving into my mind for a while. Alkgjdjsjfjsjdhfjdjshs I have gone on so many rants about his writing and how amazing he is, Lonesome Dove is my favorite novel for a reason, and I’m sure when I finish the last few chapters of The Last Picture Show, it will be up there among my favorite books too, I think♥️

Ok that’s all♥️♥️♥️ I HIGHLY RECOMMEND ALLLLLLLLLLLLL OF THESE AMAZING CREATORS AND THEIR WORKS!!!♥️♥️♥️

[arceespinkgun]

More detailed thoughts on the current arc of the Skybound comics (spoilers for up to the most current issue, #16) in which I give some more insight into why I'm still kinda ambivalent about certain parts:

Starting with the negatives to get them out of the way (they're not super serious or anything but I think they're why I'm not sure how I feel yet).

The characters who are part of the Combiners are not really characterized at all, and when they are it seems very odd. The Combaticons as big Starscream fans is really strange to see, especially when I remember their G1 debut. Mostly, the Constructicons and Combaticons feel like they're fulfilling rank-filling roles.

It's too vague right now to know what exactly happened between Starscream and Megatron in the past, but if Megatron was compelling or mind-controlling Starscream, I think that doesn't really do Starscream a lot of justice. However (and this is a big however) I believe this plotline is probably symbolic and ties into what's going on with Optimus. This series seems to be exploring the harsh realities of war and its corrupting influences, so even if I'm not sure about how one particular character is written, it may serve the greater narrative.

Arcee's crisis in #16 didn't make sense to me? She didn't jeopardize anything at all, that was only Optimus's (wrong) interpretation... and he went and killed Shockwave anyway! It just seemed odd to me to see her be comforted by Optimus when it almost feels a little hypocritical.

The thing I still find most frustrating is, unsurprisingly, how Jazz is written in this series. He barely feels like a real person with depth even now. Although nothing is like, contradicting his G1 characterization, the fact that Jazz was one of the most prominent and fleshed-out of all the transformers is making me feel like he's not being utilized very well. He always had lots of interesting things to say in the cartoon but I don't feel like that's happening here.

Now onto the positive things!

I continue to adore what DWJ's doing with Elita-1. We get to see her now as a leader of a team, a trait I've been waiting for, and I was surprised by and enjoy her friendship with Warpath! I never would've thought of something like that, but I guess it makes sense. They've been portrayed as Cybertronian resistance fighters before. Her smile while he's getting repaired was so sweet.

In a similar vein, I love seeing characters who have always been around but rarely focused on getting much more attention and care in the narrative. Bluestreak's ruthlessness was great to see focused on and maybe this series will do something more with the fact that his backstory is like Cliffjumper's in this series. I was really excited to see Trailbreaker, a character with a ton of potential, get to shine a little too! I really hope he goes on to be a major character.

Astrotrain is also a highlight for me, and I was pretty surprised to hear he wants revenge against Megatron because... Megatron killed his love interest? This is a surprising and confusing turn I never would've thought of, but I guess this is how Astrotrain would act if such a thing happened, and I'm wracking my brain trying to guess what the backstory is there. I think I'd prefer if this was about a pre-existing character and not an OC, because I found Starscream's backstory about a dead OC friend kinda weak TBH.

I'm super excited to see further fallout of Thundercracker feeling so betrayed and I was happy that this finally happened.

Megatron using Laserbeak as his eyes is really cool and I doubt DWJ would do this, but it would kind of be nice if Megatron was just blind for the whole series.

I'm really eager to see how this comic approaches the deep-seating transformer cultural issue of creating new life to be soldiers thing now that its reared its ugly head, and if Cliffjumper might have some kind of crisis later on if he feels guilt over his choices.

The art is just incredible and continues to be!

For now, I think I'm waiting to see if all this comes together like the end of the last arc worked so well.

[t0mashek]

Mini character guide for my fellow McSpirk fanartists!

I feel like I finally have a satisfying level of muscle memory down for how I draw each of our guys in a recognizable way! My portrayals of Kirk, Spock and Bones aren't usually drawn with a reference, and they definitely don't look all that realistic, but I figure at least one of you out there might like to have a peak into what I do to try and make them recognizable!

Before I show the specific lines I always like to use, I would like to shoutout all the artists out there with same face syndrome. I had very bad same face syndrome before I started drawing Star Trek fanart, the variety of characters in Star Trek REALLY helped me draw better characterizations of people! BUT, if same face syndrome is something you currently struggle with do NOT let it deter you from posting your beautiful art!

Even when drawn with the same basic face structure like I did here, it's still very easy to tell who's who, just with the use of colors, hairstyles and facial lines!

Now, for anyone who is wanting to pinpoint what I try to keep consistent in my drawings of the boys, I highlighted the lines I find most important in my drawings of each of them. I try to keep my style slightly cartoony, so I like to exaggerate!

The roundness of Jim's face is what I always try to make the most pronounced in all of my art of him. The contrast to the harsher angles of the faces of Spock and McCoy is one of my favorite things to include in my art. He has a button nose in combination with those apple cheeks, they're my favorite thing about Jim to overexaggerate!

McCoy on the other hand? Give him his TRIANGLES. I try to go for a much more square face when drawing Bones, but for the lines and features within his face we love our good old friend the triangle. That man's eyebrows are pointy, and I love to give him his mouth lines. I like to balance out the sharper lines I draw on his face with the round lines of his hair.

Spock has the bangs, ears and eyebrows that play a great advantage to us, no other bro serves like Spock. While I love the pointy sideburns on all of the boys, Spocks sideburns help me play into the length of his face. He's got a straighter face and straighter nose compared to his human boyfriends. And while he and Bones both have those handsome mouth lines, you can differentiate the shape of the crease to fit their faces! When I'm drawing McCoy's mouth lines, there's more of an angle, I draw Spock's lines straighter, similar to his face and nose.

I hope this might help some of my fanartist brethren out there! Or at the very least give you a little peak into my art process! If anyone finds this helpful and uses it to draw some art, I'd love to see it! The variety of styles and character potrayals I see in all of the Star Trek fanart I browse on here never fails to warm my heart. These goofy little guys never fail to stand out from one another, no matter how they're drawn, and that is just so special to me.

Live long and draw fanart, little gay people in my computer!!! 💛🩵💙🖖