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melorambles · 2 days ago

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Hi! Ace person (not demi, but under the same umbrella and also starved for representation) and Lucanis fan here!

OP summarized really well how annoying it feels to have the writer go "yeah this was totally intentional the whole time, the company just didn't advertise it the way they did all the other rep." The company made such a production about all the companions being romance-able by any PC configuration and then said it was because they were all pansexual, 'because representation' not because they were making the companions 'player-sexual', but then the company outright denied having ace rep. I could put that down to corporate PR teams not understanding that asexuality is a spectrum that demisexuality falls into. If I was inclined to give them the benefit of the doubt, I might even be persuaded that Mary Kirby was planning to be more blatant about it, but the scenes/dialogue were cut. But I'm not inclined to give the benefit of the doubt (especially given that some of those cut-scenes were apparently 'steamy'). It feels a lot like claiming credit after the fact for brownie points.

As an ace person, I'd like to expand a bit on what OP said about Lucanis being traumatized. To preface, I like that Lucanis is said to be demisexual. I'm so damn starved for ace rep. And I appreciate that the ace rep here is a man in his thirties who doesn't go through an arc 'figuring it out' or stressing about how he experiences romance/attraction. (So much of existing ace rep involves angst about it. I feel no angst about my orientation, only vague irritation that it takes a power point presentation to explain. Seeing people angst about it does not inspire an 'oh that's me' response, it makes me feel sad for them.) He just is the way he is, and lives his life. Dude has bigger problems than swapping bodily fluids with people. I also like that he's inexperienced and doesn't angst about that either.

But they made the ace (demi, if you prefer the distinction) character a deeply traumatized person whose hesitance to be intimate can be attributed to his trauma. The PC gets a whole personal quest for Lucanis dealing with his tendency to internalize his reactions to everything but especially the trauma. Then the final romantic cut-scene implies intimacy without commentary regarding hesitance of any kind. As if the early instinct to pull back was overcome with the trauma. I'm really damn sick of ace-coded characters being traumatized. My sexuality was not formed by trauma. There is a misconception that people aren't actually ace, they're just traumatized or repressed or haven't 'met the one' yet (which, btw, sounds a lot like demisexuality doesn't it?). If trauma formed sexuality, there would be a lot less people interested in men (yes, that's generalizing, but come on, look at the statistics). I am the way I am. Can I have one ace character that doesn't angst about it or wasn't traumatized in an extremely violating fashion?

Also, Lucanis doesn't discuss his lack of intimate experience with the PC. It's tucked away in companion banter with Emmerich. If the PC doesn't bring the two of them along enough, you could easily miss it. Again, Lucanis is a character that has a lot more going on than dating troubles, but if the PC romances him, it would just be reasonable character writing to have a scene about 'oh yeah, this dating thing, never really done that. never really done the physical intimacy bit either. but I would like to do that, with you.' The fact that there isn't a scene or discussion or dialogue like that makes me feel like the writers had more plausible deniability to say he isn't demi, than they deserve credit for adding demi rep.

I wasn't looking for him to say the words. I actually prefer it that they don't. I liked what they did with Krem and Maevaris: in my opinion, they balanced affirming how they identify with setting appropriate language and reactions they have to deal with. It breaks my immersion in the setting when characters start using modern terminology for things that sometimes even the average modern person isn't familiar with. But one, one singular line where Lucanis says that before the PC, he's never truly thought about someone 'this way' would have done a lot of heavy lifting.

You know who would have been revolutionary as ace/demi rep? Davrin. The nice, handsome, sociable, heroic, knight in shining armor, ready to martyr himself to save the world, trying to raise a griffon, no intimacy related trauma to be found. Romancing him has been described as straightforward but intimate. Which is great, he's a lovely character, I'm very fond of him. But if he was ace/demi? On the far side of the map from every stereotype people think of? I would have lost my mind. Again, I really like Lucanis as a character, but if I have to seek out fanfic to fill in the gaps, the writers didn't accomplish what they said they were aiming for.

I openly accept any corrections, especially from actual Lucanis fans or demisexuals. If you disagree with anything I say this point onwards, please tell me!

The way Lucanis went from "bisexual disaster " to "panromantic demisexual" after the game came out feels weird (Both are direct quotes about Lucanis from Mary Kirby). Before I get into this I'd like to clarify, neither is a problem, Lucanis being demisexual in a vacuum is not what I take issue with.

But it feels like another excuse. Being demisexual means something it's not just another word for inexperienced or hesitant. If Lucanis is demisexual why does he fall for Neve or Rook nearly just as fast as any other companion does and why does he never acknowledge that?

There are many hints that he's never dated before (not sure if it's ever outrught stated), and again, he is shown to be hesitant... but nothing uniquely in the direction of demisexuality.

This game clearly isn't afraid of using real terms (it has an entire codex going over different non-binary labels), so why is this where they draw the line? Why does Lucanis never acknowledge the fact that he requires a deep connection before he feels certain things?

I've seen people call Krem from DA:I bad trans representation because he's never called transgender, which I respectfully disagree with. Still, Krem is explicitly trans and then Lucanis's demisexual coding is just... pulling away before you can kiss? It doesn't help that the scene happens after something that would definitely explain why Lucanis would need to clear his head.

That's also paired with the fact we do get told constantly that he's traumatised and he mentions having little faith in people prior to his romance (at least with Neve). This isn't to say he can't be demisexual, not at all, but there's always an explanation for his behaviour that people would think of before demisexuality and there's no effort put in to otherwise lead us to it.

For a game that is on the nose about everything, I find it hard to give them the benefit of the doubt that this was the one thing they handled with subtlety.

Best case scenario, Mark Kirby was just trying to... I don't know, set up expectations to defy them? Worst case scenario, this is just another case of someone from Bioware lying to us about this damn game.

#lucanis dellamorte #bioware critical #veilguard critical #rant post #this probably won't be my last negative post about veilguard #<- stealing ops tags #asexual #demisexual #ace rep in media #dav spoilers

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inkskinned · 5 months ago

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even 2 years ago people still said autism with a whisper. it was also how people sometimes whisper lesbian, like they're afraid of uttering a slur. autistic was either an insult or it was something terrible, a horrible burden only select people endure. "select people" were usually 9 year old boys and skinny white men.

they are not hispanic young adults with a dog and a life and friends. i can make (sustained, calculated, painful) eye contact. with certain people, i don't even have to count how many seconds i am holding their vision - i can just look at them. i can wear clothes that bother me, i will just have a worse day than usual. i might cry about any changes to my schedule - but change is scary! this is normal!

when i was 16 it was OCD. i mean that was the thing everyone said. i totally have ocd. they would arrange 6 colors of gel pen in rainbow order (no worry for indigo feeling left out) and they'd be "so ocd" about it.

if you struggle with intrusive thoughts, be careful at this next paragraph, but. at 16 i developed a compulsion that involved self-harm. my ocd was convinced i was simply forgetting that i'd hurt someone terribly - a thought that persisted for no clear or delineated reason.

at some point i will probably write about how the idea of "morally pure thoughts" was hell for me and others with ocd, but this was the odd dichotomy for many of us: they liked our "aesthetic", but were genuinely repulsed by our lived experience. "intrusive thoughts" now means "cutting your hair in the sink" instead of talking yourself down from believing horrible things. "so ocd" is a label without any true understanding.

it's something i've talked about before - in multiplicity - but i firmly believe in the veracity and necessity of self-diagnosis. i think it saves lives and it saves tragedies from occurring. as someone raised in a house that wasn't safe, self-diagnosis was, for many years, the only viable option. 15 and honestly googling: am i depressed or are there demons affecting my behavior.

but it is not genuine self-diagnosis anymore, most of the time. it is a strange, blanched version of that whispered word autism. now certain traits are constantly seen as "autistic" - any passing intense interest. any flubbed social interaction. people say it while laughing - a touch of the 'tism.

and i like the acceptance! i do. i like that people are talking about it. i like that if i self-identify, more people speak up and say me too, bitch. but there is something-else quietly happening, the way it happened to OCD. the quirky, "fun" parts have been washed and sanitized and removed of all suffering. now it is just something that makes you "a little bit silly."

it took me 27 years on this planet before i learned to make friends. something about me just seems incredibly odd, i guess, some kind of radiation monitoring. someone once (in a way that was almost friendly) told me i am doing the right things, but in a way that's off-putting. i have scoured myself raw attempting to be charming.

someone on tiktok does a deep dive into their particular passion. the top comment says "what kind of autism is this lol". like we are a breed of animal. like it has no influence on our experience. like our life is a fresh breeze, an open meadow.

more often for me, life was a drowning.

#warm up #spilled ink #writeblr #it's hard to explain bc i do like the acceptance but it's like the ocd thing #autism is . an entire neurotype. yes we get 'cool autism powers' but we mostly say that #for OUR sake. on the autism website.#the cool autism powers do come with like. quality of life problems.#girl being in a room with LEDs gives me a headache. so you can kind of imagine how that might #in some way #influence my ability to function #will defend self diagnosis to the death as long as it is CLEAR AND LEGITIMATE. not like.#oooo i struggle talking 2 women i must be autistic #girl what. i struggle with the act of TALKING.

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thankskenpenders · 11 days ago

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Thoughts on two specific areas of the writing in Sonic X Shadow Generations

The best new 3D Sonic game in over a decade (or even two, depending on who you ask) dropped late last year. And I didn't write anything about it! Sometimes life happens. Well, I've finally sat down to finish Shadow Generations, and by now everyone has already been singing its praises for three months. This is the rare instance where the entire Sonic fandom, and even mainstream reviewers, are in agreement on something. The level design is the best it's been in a long, long time and the cool factor is off the charts, embracing Sonic's peak cringe era in an incredibly confident way. It's great. If you're even reading this post, you probably don't need me to tell you that. So I won't!

No, what I'm really interested in here is the writing. Because this is me we're talking about. But I actually don't want to talk about the main narrative of Shadow Generations, which is really solid little story about Black Doom trying to mold Shadow into his perfect soldier. No, I'd like to zero in on two other aspects of the writing here: the revisions made to Sonic Generations, and Gerald Robotnik's unlockable journal.

The updated Sonic Generations script

The new package mostly presents Sonic Generations how you remember it. There are some tweaks, but it's not a major overhaul. Graphically, I don't think the game has been touched much, if at all. I certainly can't notice any difference without a side-by-side comparison, despite playing it on a PS5. The most notable update is that the game's script has been rewritten by Ian Flynn.

Naturally, this caught my attention. Generations always had a nothingburger story, so with Ian rewriting Pontac and Graff's lame dialogue there was nowhere to go but up. (I don't like to pin the blame for those games' stories entirely on them, as a ton of it was dictated to them by Sonic Team, but, well, I don't think they're very good dialogue writers.) But it's less a complete rewrite and more like Ian was brought on as a script doctor for some minor touch ups here and there. Many lines of dialogue are completely identical to how they were originally written in 2011, and many others only have slight wording changes. Ian was clearly not allowed to request additional scenes or extend the ones that already existed. He has to match the original beat for beat so that they can reuse 99% of the cutscene animations. Don't expect it to be a whole new experience compared to the original.

Still, I think the new script is an improvement, albeit a minor one. Various things have been tweaked to maintain characterization consistency. Cream calls Sonic "Mr. Sonic" instead of just "Sonic." Instead of calling Sonic "buddy," Rouge uses the pet name "Blue," like she tends to do in things like the IDW comics. Espio doesn't have to remind you in the dialogue that he's a ninja, and he no longer has a line making it sound like he has some kind of soul reading power. I also like that Modern Sonic now actually has responses to what his friends say when he rescues them, rather than being silent like Classic Sonic. They won't blow you away, but they make Sonic feel a little more engaged with everything.

In general, the altered dialogue just seems tighter to me, and some of the more childish or trite wording of Pontac and Graff's script has been altered. Here, let's actually make a direct comparison, just because this stuff is interesting to me as a writer. Here's a couple lines from after the Egg Dragoon fight late in the game, in the original script:

Modern Eggman: Ooooh... I can't believe this! I was supposed to beat you this time. Modern Sonic: Aw, I'm sorry! I didn't get that memo. I beat you every time! [Turns to Classic Sonic] No, seriously, we beat this guy every time. It's like it's our job or something!

This is a simple exchange. Eggman is mad that he lost. Sonic is unflappably confident because he always beats Eggman, and he explains this to his younger self. But the wording here isn't particularly good. Eggman's simple and direct wording makes him come off like a little kid who's mad because his older brother beat him at Mario Kart, rather than a mad scientist who just had his plans foiled. It's making light of the situation.

And I've never liked Sonic saying "It's like it's our job or something!" That doesn't feel like a thing Sonic would say, it feels like a thing an outside observer would say about Sonic. This is a frequent problem with so-called "MCU dialogue," where quips meant to echo the commentary of a casual, somewhat disinterested audience are inserted into the story itself so that the writers can be like "See? We get it. We're genre-savvy, too!" It also just reminds me of bad Sonic Boom: Rise of Lyric lines like "Rings! It's like they're made for me!"

And then here's Ian's rewrite:

Modern Eggman: I recalibrated everything! This was supposed to be my time! Modern Sonic: Oh, please, keep dreamin', Egg-head. I beat you every time. [Turns to Classic Sonic] No, seriously, we beat him every time. Our score card's flawless.

Eggman's still mad about his defeat, but the line "I recalibrated everything!" makes it more specific. He put all this work into the engineering side of his latest scheme and got tunnel vision, thinking if he got his creations just right there'd be no way he could lose. "This was supposed to be my time!" also turns it into a time travel pun, which is a bonus. He's still pitching a fit over losing, but it feels more like Eggman pitching a fit, rather than sounding childish.

And then instead of saying that beating Eggman is "like his job or something," Sonic says he's got a flawless score card against Eggman. He doesn't take Eggman seriously as a threat—at least, not to his face. He acts like it's all a game. But he conveys this in a way that feels truer to the character, rather than feeling like the words of a real world observer poking fun at the tropes of the Sonic series.

Is this amazing, A+ dialogue that blows me away? No. Again, it's not a completely different scene from the one we already had. Ian had to fit the beats of what was already there. He couldn't go all out and write an all new story confirming his longstanding headcanon that the Time Eater is a remnant of Solaris or whatever. But the wording here makes the existing story land a little better and feel truer to the characters in subtle ways.

But to me, the main change is that the Sonics and Tailses seem to have a more solid understanding of what's going on with the timeline and the Time Eater, compared to how idiotic they sometimes seemed in the original game. Which is good! No more standing outside Green Hill and wondering why it seems so familiar. Thank god. As part of this, yes, there are a few more references to past games in the dialogue, like Sonic briefly being confused about the fact that they're time traveling without the Time Stones, or South Island and Westside Island being acknowledged as the normal locations of Green Hill and Chemical Plant. Yes, ha ha, insert joke about how Ian loves references here. Look, it's Sonic fucking Generations. It's a game built entirely out of nostalgic references. Just own it! And, again, in this instance Sonic and Tails come off as less stupid when they make it clear that they do, in fact, remember their adventures from presumably less than a year ago in-universe.

Eggman, too, seems to have a better understanding of the powers he's toying with. Where in the original vesion his focus was simply on going back in time to undo his previous defeats and he seemed kind of oblivious to how much the Time Eater was actually fucking up the universe, here Eggman says he wants to use the Time Eater to give himself complete control over the entire timeline. Eggman also makes way fewer references to his own failures and shortcomings. Of course he won't admit that Sonic has defeated him time and time again. To him, he's never truly lost—Sonic just keeps delaying the inevitable total victory for the Eggman Empire.

So, yes. The new Sonic Generations script is better. It won't blow anyone away, but it's better than it was. It's been elevated from "kinda lame" to "fine." No, if you really wanna see Ian flex his ability to breathe new life into old Sonic stories, look no further than...

Gerald Robotnik's Journal

Hoo boy.

The story of what happened aboard the ARK has always been... a bit confusing, to say the least. Fans with encyclopedic knowledge of the script for every route of Shadow '05 may disagree, but it's the truth. We've had all the pieces to understand the story for a long time now, but that info was given to us out of order by a pair of unreliable narrators—Gerald, who became a vengeful lunatic shortly before his death, and Shadow, who was subjected to multiple rounds of amnesia and altered memories. Some of the ambiguity left by Sonic Adventure 2 was cleared up in Shadow '05, but that game also retconned in a bunch of new elements to Shadow's backstory (aliens!) that lead to further confusion. Not to mention the fact that that game had multiple routes and only revealed the truth about Shadow if you sat on the ultimate final boss battle for WAY longer than the fight would normally last. Or the fact that Sonic X made its own tweaks in its telling of the story. Or the fact that none of these things ever had the best English translations. I can't blame anyone who hasn't played those games in two decades for not remembering the truth about these characters and getting some details mixed up.

What we needed was something to piece together all of the info we have into one coherent backstory, told in chronological order. And thanks to Shadow Generations, we have that, in the form of an official journal tying together what we knew from Sonic Adventure 2, Shadow '05, and Sonic Battle into the tragic tale of Gerald's rise and fall.

Ian Flynn was the perfect man for the job here as the guy who started his career by tidying up the mess that was the first 159 issues if Archie Sonic. This is what he excels at: taking disparate bits of weird Sonic lore from multiple different sources, boiling them down to their most interesting elements, and connecting it together in a way that will make the audience see the dramatic potential he's always known was there. Rather than feeling like a cynical exercise in franchise building, going back and explaining things that never needed explaining so that people can add more bullet points to the wiki, he puts a new spin on things that retroactively enriches those past stories. The story here means something to the characters involved and gives us a better understanding of them as people, rather than as plot devices to motivate Shadow.

(And, of course, Ian didn't do this journal alone. He wrote the story, but I also have to give a huge shout out to Evan Stanley, who made the final product. All of her handwritten journal entries, sketches, and "photos" included throughout. The physical damage done to the journal over the course of 50 tumultuous years, passing from Gerald to Eggman to a certain special someone at GUN. The way Gerald's handwriting gets less and less legible as his mental state declines. So much love was put into what could have been a mere text dump in a menu, and it really elevates it to the next level. Congrats on officially getting hired by Sega, Evan, you've sure as hell earned it!)

The main idea the journal conveys is that Gerald was under a lot of pressure from a lot of different parties—GUN, the President, his colleagues aboard the ARK, Black Doom, even his own family—and boy did it get to him. The known incidents aboard the ARK mentioned in previous games are put together here to form a story where everything slowly spirals out of control as Gerald keeps compromising his morals to further his research, thinking he'll eventually find some way out of all this because he's a genius. I won't recap that whole story here (if you haven't already played the game and read the journal entries, I would highly recommend at least reading it on the Sonic wiki), but I'd like to highlight my favorite elements of the story, as Ian tells it here.

1) The Eclipse Cannon

Here's something that never quite made sense in Sonic Adventure 2: why does the ARK have a laser that can blow up the Earth built into it? It was supposed to be a peaceful research colony. Sure, Gerald went crazy and swore revenge on the Earth, but, like... when did he have an opportunity to go back up to the ARK and modify it? Did he have someone else do it? How? The ARK was raided by GUN and shut down! And then they arrested him, held him in prison for an unclear period of time, and executed him by firing squad when he was no longer useful! It doesn't add up. Shadow 'the Hedgehog '05 would give its own answer by introducing the Black Arms and saying that the Eclipse Cannon was always supposed to be a secret trump card against the Black Comet. But, like... we know that's kind of a bullshit answer, right? You don't need enough power to blow up a whole planet just to destroy a comet.

Well, the new journal retains what we already knew, but it paints a much more complete picture.

See, long before Gerald ever made a Faustian bargain with Black Doom, he had already made one with an even greater evil: the military. GUN gave Gerald much of the funding for the ARK, Gerald's personal utopian research station in space, but it didn't take long for GUN to start pressuring him to design them weapons. Gerald tried to get GUN off his back by personally contacting the President of the United Federation, and the President gave him an alternative: how about, instead, you just use your genius brain to figure out the secret to immortality for us, so our soldiers can be immortal? Gerald was initially sickened by the notion and found it completely absurd, like chasing a shadow... but given no other option, the sarcastically named Project Shadow soon began in earnest. (Maria would later put a more positive spin on the name after Shadow's awakening, pointing out that a Shadow can show us the direction of the light, like she says in the game itself.)

Of course, this search for the ultimate life form didn't go very well, and without any results on that front GUN kept hounding him for weapons. Gerald would throw them a bone here and there to get them off his back. His research on Chaos resulted in the Artifical Chaos prototypes, which he worried would be used for warfare but could at least theoretically be used for search and rescue missions in floods, in his mind. But that wasn't enough. So he gave them Chaos Drives to power their mechs. And that still wasn't enough. He's got Emerl. He'll give them Emerl. They're not impressed by Emerl. They'll shut the whole ARK down if Gerald doesn't give them something big.

Fine! GUN wants something big? Gerald builds a huge fucking laser cannon into the ARK. However, as a middle finger to GUN, Gerald makes it so powerful that it would destroy the Earth if it was ever fired at any target on its surface. In other words, GUN now has their ultimate weapon of mass destruction, fulfilling his contract, but they can never actually use it. Oh, the delicious irony. (And also Shadow will blow up the Black Comet with it in 50 years yada yada yada.) Is this perhaps extremely shortsighted and naive of Gerald, to believe that such a weapon would never actually be used just because of the risk? Of course. But hey, that's Gerald for you. And I love this as an answer.

(Also, this, uh, kinda echoes something from real life! Remember the bit in Oppenheimer where he says all nuclear war will become unthinkable, and Edward Teller responds "until somebody builds a bigger bomb"? Yeah, Teller went on to conceptualize a superweapon codenamed Project Sundial that would have been able to kill all life on the planet, as the ultimate deterrent for war. This was never made for obvious reasons, but hey, there's a basis for this sort of thinking outside of heightened sci-fi! There's a whole Kurzgesagt video about this if you're interested.)

2) The Biolizard

The Biolizard is, of course, brought up as the initial failed prototype of the ultimate life form, from before Gerald met Black Doom. We don't really learn all that much about it that we didn't already know, but I just love the way it's framed in the story.

As you can see above, we actually get to see a picture of Maria holding up the cute little salamander that would end up mutating into the Biolizard through Gerald's experiments. (Researchers want to figure out how to replicate salamanders' regenerative abilities for humans in real life, too, so this was a natural starting point for the project.) And then, after it grows to a monstrous size and goes out of control, Gerald has to lock it away in an unused sector of the ARK. He needs to keep the poor thing alive for his research into harnessing Chaos Energy, building life support systems directly into it, but he doesn't have the heart to tell Maria what happened. So it just becomes this first dark secret weighing on his conscience. The Biolizard becomes Gerald's Tell-Tale Heart beating beneath the floorboards of the ARK. I love that.

3) Lost Impact was the breaking point for the ARK

Remember the level Lost Impact in Shadow '05? The flashback level on the hero path where Shadow is running around fighting Artificial Chaos enemies on the ARK 50 years ago? Yeah, that wasn't just a random incident. That was important, as we now know due to its placement on the timeline.

See, Emerl's rampage aboard the ARK that was chronicled in Sonic Battle and Dark Beginnings set off a domino effect. Emerl riled up the Artificial Chaos, causing Gerald to lose control of them. They became violent, and so Shadow had to stop them, as depicted in Lost Impact. The thing is, that incident sent an SOS signal to GUN telling them that shit was going down on the ARK. Gerald didsn't fully understand the trouble he was in and assumed that he'd simply be reprimanded by the higher ups, or maybe face legal action. But, well... the next time he heard from GUN, armed troopers were raiding the ARK.

So Lost Impact was the straw that broke the camel's back. I just really like that detail.

4) Maria

And, of course, there's Maria herself. Maria has often been more of a symbol than a character, this perfect embodiment of everything that's good and pure in this world who gets killed to motivate Shadow and Gerald's revenge plots. But I really like the wrinkles this journal adds to her and Gerald's story, and their relationship. This is the most fleshed out they've ever felt.

For one, the journal leans into the idea of Maria's intellectual potential. The rest of the Robotnik family is all geniuses, after all, and she was proving to be a really bright kid. She excelled in her studies on the ARK, and she even helped design Shadow's jet skates and inhibitor rings. When Maria died, the world didn't just lose a symbolic personification of purity. She genuinely could have been a hugely influential scientist who did so much good for the world. That's what Gerald wanted for her. But we'll never know, because GUN killed her.

Speaking of her family, their presence isn't just mentioned for the sake of fleshing out the Robotnik family tree. It's mentioned that as Gerald struggled to find a cure for Maria's illness through his genetic research, he faced mounting pressure from his family. They didn't want Maria to be up on the ARK forever. They wanted Gerald to hurry up and find a damn cure, or otherwise just send her back home to Earth so she could be with her family again. She'd been up on the ARK for so long that Gerald's coworkers started thinking that she had been born up there. Eventually she gains a baby sister on Earth who she's never met. A rift forms between Gerald's two sons, and he's unable to really deal with it because he's so consumed by his work. There's this sense that the family is falling apart, and that everyone is dreading the possibility that Gerald will never find a cure and that Maria will just spend her final years up in space and die far away from her family, because Gerald just couldn't let go. If that happens, it'll break the whole family. But he can't stop now. So he just keeps working. Curing Maria is the only way to win his family back, in his eyes. It can't all be for nothing.

But my favorite detail regarding Maria is this one paragraph:

Maria is growing into a lovely young woman. It breaks my heart that someone as bright and energetic as her is diminished by disease. There are no visible effects, and I've caught my fellow researchers muttering to each other, doubting her illness. It is infuriating. I find all my reason and restraint vanishes when she's slighted.

This is SUCH a great addition to the story! It's always been true that Maria doesn't really seem all that ill, just looking at her in cutscenes. With this one little comment, Ian flips that issue on its head and turns it into a story about invisible disability. She doesn't act like she's in chronic pain, so she must not be, everyone thinks. And this really, really gets to Gerald, as does the pressure from his family. He's dedicating his whole LIFE to saving her, and they think she's faking it?! It's such a small addition, never referenced elsewhere in the journal, but it adds so much flavor to the story, as does the implied family drama. It grounds Gerald and Maria and makes them feel more like real human beings, rather than being pure archetypes. It's just enough info to let my imagination run wild filling in the blanks.

You also get the feeling that Maria being such a walking ray of sunshine was the only real source of joy Gerald had left in his life before Shadow was awakened, and the only thing keeping him from snapping under pressure sooner. All this stuff just keeps piling on, everything's spiraling out of control, but at least Maria is keeping her chin up, right? It makes so much sense that losing her would make him go off the deep end when it's framed like this.

It's just... man, I never thought I'd care so much about Gerald and Maria. But that's the Ian Flynn touch. After years of less than stellar Sonic writing that seemed to be embarrassed of itself, I'm so happy to have new games coming out that fully embrace the history of the series like this, making its world feel so rich and real instead of just serving as an excuse for a string of platforming levels. I don't even like Shadow '05, but I'll be damned if Ian and the rest of Sonic Team didn't make something amazing by "yes, and"-ing Shadow's cringe past here. Sonic has truly reached levels of "we're so back" never thought possible.

#tkp post #other media

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sarahreesbrennan · 1 year ago

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Are all the themes in “in other lands” supposed to be a commentary on something? Or do you just like writing sex scenes between minors, age gaps, and reverse misogyny?

Genuine question.

Ohhh, my dear anon, I don't believe this is a genuine question.

But it does bring up something I've been meaning to talk about. So I'll take the bait.

Firstly. Yes, my work contains a commentary on the world around us. I wonder what I could be doing with the child soldiers being sexually active in their teens (people hook up right after battles), and the age gap relationship ending in the younger one being too mature for the elder. What could I possibly have been attempting when I said 'how absurd gender roles are, when projected onto people we haven't been accustomed by our own society to see that way'? I wasn't being subtle, that's for sure.

Secondly. Yes I do enjoy writing! I think I should, it's my life's work. Am I titillated by my own writing, no - though I think it's fine to be. The sex scenes of In Other Lands aren't especially titillating, to be honest. It is interesting to me how often people sneer at women for writing romance and sex scenes, having 'book boyfriends,' insinuating women writers fancy their own characters. Women having too much immoral fun! Whereas men clearly write about sex for high literary purposes.

… I have to say from my experience of women and men's writing, I haven't found that to be true.

I’m not in this to have an internet argument. Mostly people use bad faith takes to poke at others from the other side of a screen for kicks. But I do know some truly internalise the attitude that writing certain things is wrong, that anyone who makes mistakes must be shunned as impure, and that is a deeply Victorian and restrictive attitude that guarantees unhappiness.

I've become increasingly troubled by the very binary and extreme ways of thinking I see arising on the internet. They come naturally from people being in echo chambers, becoming hostile to differing opinions, and the age-old conundrum of wanting to be good, fearing you aren't, and making the futile effort to be free of sin. It makes me think of Tennyson, who when travelling through Ireland at the time of the Great Famine, said nobody should talk about the 'Irish distress' to him and insisted the window shades of his carriage be shut as he went from castle to castle. So he wouldn't see the bodies. But that didn't make the bodies cease to be.

In Les Mis, Victor Hugo explores why someone might steal, what that means about them and their circumstances, and who they might be - and explores why someone else is made terribly unhappy, and endangers others, through their own too rigid adherence to judgement and condemnation without pity. The story understands both Jean Valjean the thief and Javert the policeman. Javert’s way of thinking is the one that inevitably leads to tragedy.

Depiction isn't endorsement. Depiction is discussion.

Many of my loved ones have had widely varying relationships to and experience of sex (including 'none'). They've felt all different types of ways about it. If writing about them is not permissible, I close them out. I'd much rather a dialogue be open than closed.

I do understand the urge to write what seems right to others. I've been brain-poisoned that way myself. I used to worry so much about my female characters doing the wrong things, because then they'd be justly hated! Then I noted which of my writer friends had people love their female characters the most - and it was the one who wrote their female characters as screwing up massively, making rash and sometimes wrong decisions. Who wrote them as people. Because that's what people do. That's what feels true to readers.

I want my characters to feel true to readers. I want my characters to react in messy ways to imperfect situations. I love fantasy, I love wild action and I love deep thought, and I want to engage. That's what In Other Lands is about. That's even more what Long Live Evil is about. That sexy lady who sashays in to have sexy sex with the hero - what is her deal? Someone who tricks and lies to others - why are they doing that, how did they get so skilled at it? What makes one person cruelly judgemental, and another ignore all boundaries? What makes Carmen Maria Machado describe ‘fictional queer villains’ as ‘by far the most interesting characters’? What irritates people about women having a great time? What attracts us to power, to fiction, and to transgression?

I don’t know the answers to all those questions, but I know I want to explore them. And I know one more thing.

If the moral thing to do is shut people out and shut people up? Count me among the villains.

#bookblr #discourse #in other lands #long live evil #les mis #carmen maria machado #writing

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anxiousnerdwritings · 1 year ago

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I am going FERAL over this imagine:

So basically Bruce brings reader home to be his new daughter/the boys' new sibling but Uh Oh! They now want you carnally and reader is just like "you said you wanted me as a daughter/sibling, wtf is this" and being their platonic darling is better than being shared between them romantically so reader tries to come off as innocent and child/sibling coded by being like "yeah I've never actually kissed or dated anyone before aren't I just so innocent" and the boys are like :)))

So then Dick says you can call him your boyfriend "just to feel it out" and Tim starts blatantly stealing your panties and Jason says he can give you your 1st kiss so you can "practice" with him and Bruce offers to teach you how to touch yourself and (and him) and when you try to walk it back cause the boys are being Freaks they're in their delulu era so eventually you end up tied to the bed with the boys and Bruce drawing straws over who gets to take what 1sts (like 1st date, kiss, virginity, ect).

And Damien is just in the background absolutely SEETHING cause the the boys and Bruce's Horny Time keeps interrupting his Mommy Time with the reader

And reader using Damien as kind of a shield cause what are they going to do, feel you up in front of a CHILD? Like just, "Stay Platonic :))"

Just that kind of pseudo incest makes me Feel Things (*/∀＼*)(///∇///)

I'd love your thoughts/a fic based on this! Ty ❤️

TW: Brief mentions of pseudo incest(y) scenarios/behavior, manipulative tactics, yandere tendencies

(Okay so I’ll answer this with my thoughts for right now.)

I know I primarily write incest(y) related topics for my Game of Thrones/ASOIAF stuff but I have been tempted to/curious about branching it out into some of the other fandoms I write for 👀. (I’ve had a few ideas rolling around in my noggin for a bit if anyone is interested.) So I would be willing to give this a try. I’m down to experiment with some new stuff, within reason of course.

I imagine the Reader being older (probably 19-23), maybe even having been a runaway of sorts or not having a very stable home life, so when they’re given the ‘offer’ to become part of the family they’re looking to fulfill a familial void they’ve never experienced or have forgotten how it’s felt like. I definitely see Bruce and the rest of the boys keeping a very close eye on the Reader before they decide to finally bring them into their family, basically full on stalking them from the moment they caught their attention (you know how the Batfam works). It wouldn’t be a surprise if even before the Reader was with them physically that the boys developed a more carnal desire for them. At first, their intentions were completely platonic, but with all the lengthy observing and information gathering of their supposed-to-be-new-family-member eventually something changed in how they all saw their darling.

I really see the change in their obsession starting with either Dick or Tim first. Especially regarding some accidental or purposeful peeping Tom foolery. I feel like Bruce would be the last to fall victim to the change in direction or at the very least he’s the last one to admit to it. If Damian is younger than I see his obsession staying strictly platonic, but if he were much older than I could see him involving himself to the same depths as his family.

At first, I see things happening subtly. Knowing that at the very least a few of them are already in an obsessive-romantic headspace in regards to their darling before they even physically become part of the family the guys would try to be as welcoming as possible without revealing their true intentions. They don’t want to scare you off right away, they want you to walk into it semi-willingly at least. But the interactions with the Reader would show something else. The lingering touches, the being much closer to you than really necessary, the heated grazes over your clothes here and there that leave you wondering if that actually happened or not. I also kind of like the other members not being fully aware of each other’s change in obsession, everyone giving each other the side eye until it sets in and then all out war of who gets the darling to themself unfolds only to eventually end up with them working together and agreeing to share. That’s when Bruce’s heel-turn is revealed.

Once things get truly amped up, the interactions with the Reader really begin to escalate. The boys would walk around shirtless more often, all of them trying to get their darling to look at them, to really look at them. Eventually, it’s not just them being shitless but either them in nothing but their underwear or nothing at all. They start out as accidents but eventually it’s pretty loud and clear that the guys want you to see them, all of them, to even touch them and feel them to your hearts content. But thats not all, of course it’s not. The touching of their darling only gets all the more intense, to the point that you know damn well that they’re touching you and they want to leave you wanting for more. So much more. The Reader’s innocence and lack of experience would only spur them on even more. They absolutely thrive off of it. They all want to be your first, your first everything. There will be a lot of secret ‘lessons’ being given behind closed doors and telling of “Don’t tell Batdaddy or he’ll get real mad.” “Don’t let Jay know, or he’ll want to punish you for not doing this with him.” “Let this be our secret, (Name). Something just for you and me.” “Can’t tell anyone about this or they’ll ruin it for the both of us.” And they only get even worse from there.

I can’t see Alfred being okay with this in any situation, whatsoever. I think he especially would feel like Bruce and the other boys completely took advantage of the Reader and he would try his best to aid them in trying to keep up with the platonic intention of this entire fiasco. He would be a total cockblock, even going as far as helping Damian in his cockblocking endeavors. Alfred’s intention would be to play both sides so he knows how to help the Reader when it comes to Bruce and the others but it wouldn’t take too long for them to figure out that Alfred is working against them. Like, Alfred was all for the familial-platonic obsession but when things started getting more romantic he was ready to shut that shit down ASAP. You can’t tell me he hasn’t, at least a few times, locked Bruce, Dick, Jason, and Tim out of the house to give the Reader some peace and give Damian his much deserved allotted time with them.

Speaking of Damian, he is a menace (as per usual) but even more so than normal. He really doesn’t take too well to the new direction of his father’s and brothers’ obsession for the Reader. He thinks it’s pretty messed up but he sincerely likes and cares about the Reader and he wants them to stay, he wants them to continue being a part of the family forever so he’ll let some things slide. Some. He even may be willing to look the other way when it eventually comes to Bruce, Dick, Jason, and Tim baby-trapping the Reader if it means this whole ‘family’ thing becomes set in stone with the arrival of a new ‘sibling’. But for the most part, at least early on, Damian would be a huge pain in the ass for the other family members. He feels like he needs to step in to save his darling from the others and their ulterior motives. He’s all his parental/older sibling figure needs, at least at that point. He may even try to runaway with them to keep them safe from the others. Hell, he may even get his mother involved if he was desperate enough, especially if he saw the Reader as a parental figure. Or maybe even another Justice League member to either adopt him and the Reader so that he could have that family experience he was promised with the Reader. Or he would be completely content just living the rest of his life just him and the Reader, platonically of course.

It would either take Bruce or Dick to have a talk with Damian to get him to come to some agreement to allow them to continue with what they’re doing in regards to the Reader. I think Dick would get away with manipulating Damian much better than Bruce could. I think Damian would have some opinions about his father especially throughout this whole situation. Especially since I see Damian being very observant of how Dick, Jason and Tim are behaving towards the Reader early on and picking up on the fuckery taking place, even going as far as telling Bruce about it under the belief his father would be on his side (not ever fathoming the idea of his father also doing similar things to the Reader without him ever knowing). As far as Damian knew his father was completely platonic towards the Reader, as a ‘father’ should be. Right? So understandably Damian feels not only betrayed but also disgusted when he finds out that his father was and still is taking part in, acting in a similarly depraved fashion as the others.

Eventually, I could see them coming together and being one big ‘happy’ family. But it sure as hell comes at a price. (Usually the Reader’s freedom and sense of self outside of the obsession they’ve been dragged into, to drown in alongside their yandere(s).)

#anxious answers #yandere bruce wayne #yandere dick grayson #yandere jason todd #yandere tim drake #yandere batboys #yandere dc concept #yandere batboys concept #yandere concept

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cr-aspec-fest · 1 month ago

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CR Aspec Fest - Info & FAQs!

The Critical Role Aspec Fest is a month-long fanwork fest (with a prompt for each week) celebrating aromantic-spectrum and asexual-spectrum experiences!

Schedule and Prompts

WEEK 1 (Feb 1st-7th): Aro-spec

WEEK 2 (Feb 8th-14th): Ace-spec

WEEK 3 (Feb 15th-21st): Unconventional relationships

WEEK 4 (Feb 22nd-28th): Free week! Whatever your heart desires.

FAQs

(if something isn't answered here, please feel free to send an ask or message!)

Can I make something about a character being demisexual or demiromantic or (insert other label)? Can I make something about a character who's straight?

Absolutely - please do! Aspec is a very broad umbrella term, and this event is all about celebrating a variety of experiences that aren't well-represented in media. If it feels right to you, go for it. I'm not going to exclude any works from the fest just because they aren't relatable to me.

What types of fanworks can I make for the fest?

Anything! Be that fanfiction, fanart, meta, gifsets, edits etc. - everything is welcome! If you're writing fanfiction, you're encouraged to post to the AO3 collection here.

Which Critical Role characters can I make fanworks about?

Do I have to make a fanwork for every week to take part?

Nope! The more the merrier, but we're doing this for fun, not to stress!

Anyone in anything they've streamed - so the main campaigns, EXUs, Candela Obscura, Daggerheart or other oneshots!

Do I need to be aspec to join?

Definitely not, as long as you're coming in with the mindset of being respectful of our experiences. For one, I'm aromantic but not ace-spec - so making works about ace-spec experiences is naturally going to be more difficult for me, but entirely doable with a little bit of research! I think it's a great way to learn about others.

Why February? Why a whole month?

Yes, there are plenty of aspec weeks hosted in other fandoms, which are great and the inspiration for this event! But personally, I am both slow and busy, so making just one thing per week is much more achievable for me. I chose February because Aromantic Awareness Week is the week after Valentine's day, and this fest was originally going to take place during that time. I'm also unaware of any other fandom events happening in February (although please let me know otherwise, just for my own interest!). The fact that February splits so nicely into 4 whole weeks is an added bonus!

Edit: There is another CR fandom event this month - @vexlethuary!

Would you like people to share around the existence of this fest?

(Okay, maybe this one's a bit of a cheat.) Yes please! Even if you don't plan on taking part, getting eyes on the existence of this event would be wonderful. This is the first fandom event I've ever hosted, and I don't have a huge platform among fic writers, who are likely the largest contingent of nerds (lovingly) who'd be interested in taking part in an event like this.

Other Rules

Please don't bash any ships or headcanons you don't like! Part of the fun of fandom is seeing the broad range of possible interpretations, and I'd always rather foster a sense of community rather than opposition.

Suggestive, NSFW and whump content is fully allowed, but must be tagged correctly for whatever platform you're posting on. When reblogging suggestive or NSFW content, I'll use the tag #CRAspecFestNSFW, so filter that if you'd like.

Fanworks should be focused on aspec experiences or characters, but other topics or characters can totally be included, and these experiences don't have to be super clear or well-labelled in-text (gods know that real-life experiences are often opaque and confusing) - it's your intention that matters. This is up to your discretion, really. As with the rule of thumb for AO3 tagging - if someone was viewing this for aspec content, would they be disappointed? If so, you can always rework it, or post it outside of this fest.

Please consider adding alt text to any images you post - here's a useful guide if you're not sure what to write.

This account will be reblogging every fanwork made for the fest - just remember to tag us, and use the #CRAspecFest tag! If you don't have a tumblr account and want a post about your work to be included, send a message.

There'll be more posts on this account with ideas for how to approach the prompts, plus reminders at the start of each week, tagged #CRAspecFestPosts. All submission reblogs will be tagged #CRAspecFestWorks (and #CRAspecFestNSFW if applicable).

#CRAspecFestPosts #critical role #fandom event #critical role fanfiction #critical role fanart

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killerlookz · 9 months ago

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Hello my fellow Criminal Minds fan! 😊

May I please request headcanons for Spencer falling for a female agent who’s cynical about love and relationships due to being hurt in the past?

a/n: thank you sm for the request! i'd be happy to write this for you! :-)

Falling in Love Again | Spencer Reid Headcannons

pairing: spencer reid x f!reader

content: mentions of reader having been cheated on in the past, uhhhh that's really it haha

word count: 1,478 (sorry she's so long)

Spencer Reid had always been excited about falling in love, the thought of being so close to another person- to share so much with someone was such a wonderful thing to him.

Especially after watching his mom and dad growing up, and the way his father treated her-Spencer was dead set on never becoming anything like him, he looked forward to treating a woman right and spending the rest of his life with her.

But, for as excited as he was he was probably 20 times more nervous about the whole falling in love thing.

So when you came around, and he started to experience that warm, creeping feeling in his chest- he felt a little bit like his world was going to end.

Spencer had never made a move on anyone before, sure he did make out with Lila Archer that one time but he didn't exactly initiate it.

Spencer decided just to channel all of his romantic interest in becoming friends with you, at least he got to spend time with you, that's what really mattered to him. Maybe one day it would turn into something more.

Well.. he hoped until he couldn't help but overhear...

"I went on my first date in months last night, and all this guy did was talk about himself the entire time- didn't let me get a word out, I mean, can you believe it?" Emily says, exasperated

You look up at her as she stands in front of your desk, "Oh, trust me Emily, I can believe it." You shake your head

"I mean," She throws her hands up, "What is it with men? What's wrong with them."

"Everything," You smirk, "They're men. I can't remember I had a good experience with one of them- never maybe?" You laugh. "I've given up on dating."

Your words sunk into Spencer's brain, leaving him with a heavy feeling all around he felt awful- not just about the fact that his chances with you seemed to reduce to zero right there in that moment, but because of how upset you seemed under your sarcastic exterior, he could tell you'd really been hurt before.

A few weeks later you're out for drinks with Emily, Penelope, Morgan, Spencer, and JJ. Amidst the loud, drunken conversations and music at the bar- you can hear the faint chiming sounds of your ring tone, Who would be calling this late?

As you take your phone from your pocket, your stomach drops when you see the number flashing on the screen. The mere sight of those 10 digits making you want to throw your phone to the ground and stomp on it until nothing remains.

"Ooooh, who's that calling." Morgan smirks

You look him dead in the eyes and respond flatly, "My ex."

Morgan's smile doesn't fade instead his smirk seems to deepen, "You two got a little thang goin on?"

"No," You shove your phone back in your pocket, "More like he's trying to get back in my pants after cheating on me- twice."

"Ooh!" Morgan responds, wincing, "So he's a dog."

"A pig is more like it." You scoff, "Who does he think he is. I can't even imagine giving my time to another man again, and even if I could- what makes him so confident I'd give him the time of day."

That familiar heavy pain hits Spencer again.

He's staring at you, and it's like the rest of the bar doesn't even exist. Only you, as you bite your lip, trying to hide any emotion in your face.

Spencer has become good at reading your emotions, maybe it's because he spends so much time with you- maybe it's because of how often he finds himself staring at your face. As much as you try to seem nonchalant, he could tell how upset you are.

Spencer would spend more time than he wanted to admit fantasizing about treating you well, about giving you the love you never seemed to have.

Every time you made a snarky comment about love, or how men had treated you in the past Spencer would want so desperately bad to just tell you about how well he would treat you, how he would never ever hurt you, how he would spend his entire life taking care of you.

The words were practically scratching up his throat, begging to be let out. But still, he would just swallow them down, and give you a sympathetic look, he couldn't muster up being able to do anything more.

At the very least, Spencer's plan of becoming friends with you was working.

The two of you would become very good friends.

Spencer would learn everything he could about you, he would want to know as much as possible.

Not in a weird creepy way- but in a he just thinks you're so amazing he can't get enough of you sort of way.

Every time you and Spencer hung out he wouldn't be able to ignore that nagging feeling, the thought of putting an arm around you and pulling you close, of holding your hand in his, or placing a delicate kiss on your cheek.

The thoughts would eat away at Spencer, and he would only fall more, and more in love with you.

Still, he would lose more hope every time you divulged information about your prior encounters with love. He couldn't blame you for feeling so cynical it, not after what you'd been through.

Spencer would think about his mom, about all the wives Rossi had been through, about Hotch and Hailey, about you- he would wonder why love had to be so painful for some people. He was sure he would never hurt somebody he loved.

One day you're over Spencer's apartment, watching a rom-com, and you make a snide remark, "Oh, real love isn't like that." You scoff and roll your eyes.

Spencer doesn't know what it is, but something in him makes him respond, "It could be." He says meekly

You look up at him, caught off guard at his disagreement, "Hm?" you hum

Spencer wasn't able to take it any more, he hated hearing your cynical nature. He would need you to know how you deserved the entire world.

"Love- It can be like the movies." He affirms his stance.

"Not in my experience."

"I would give you love like that." Spencer would tremble as he makes his confession, so unsure of what would happen next.

He would be terrified of your reaction, scared he was about to mess everything up, ruin any future the two of you had together, and even worse, lose your friendship.

"W-what do you mean, Spence."

"I mean, you always talk about how you've been hurt before, and it just-" He takes a deep breath in, contemplating what he's going to say next, "I love you, y/n," He looks down at his lap, then back up at you, "I would never hurt you."

Despite the obvious passion in Spencer's voice, you were still hesitant about it, but everything inside of you told you to give Spencer a chance.

Spencer would insist on taking things slow, you were his first real relationship and he wouldn't want to rush things, for both his and yours sake. He wouldn't pressure you to put a label on things, or even say you're "dating"- those would come on your own time.

Spencer was determined to make you believe in love again, and he would do everything in his power to make sure you knew without a doubt how he felt about you.

Spencer would often get to work before you to surprise you with coffee and a breakfast sandwich, or a donut on your desk in the mornings.

He would insist on having a date night at least once a week, even if the two of you were on a case, ordering room service or finding a local pizza restaurant way late at night was sufficient, as long as the two of you got to spend time together.

Spencer would be hesitant about PDA or really moving too quickly into being too affectionate, still, he would frequently hold your hand, squeezing it tight when he could tell you were stressed or upset- either by a case or by life in general, he just wanted to give you that extra reassurance that he was there for you.

Spencer would really put the work in, he'd exert more effort than you had ever seen from any past relationship into even the tiniest things.

Spencer wouldn't mind though, anything he could do to reassure you that he loves and cares about you, he would do it.

Every little act of love and gratitude would be worth it to him.

He would savor and cherish every hug, every shared glance, every peck on the forehead, on the cheek, on the lips.

It was all worth it to him, every second of it- all he wanted to do was make you smile, to make you fall in love again.

#spencer reid #spencer reid headcannons #spencer reid x reader #spencer reid fic #spencer reid imagine #criminal minds #criminal minds fic #spencer reid x you #spencer reid x y/n

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4dkellysworld · 5 months ago

Text

After deciding 'it is done'

This is more of a manifestation themed post (it's a draft from March when I spontaneously felt like writing it but didn't post it) because I felt like it but I'd appreciate if I didn't get any asks about manifestation* (unless I change my mind later) cos I'll share what I can and there's a lot of material available already! You can see my past post on this topic here. For more posts on it, see @4dbarbie-archive and realisophie's posts here and here and there's also some over at @ndjournal in the experience sharing tag.

*Also because I don't want to send mixed messages to the readers of this blog. I see conscious manifestation as a way to challenge & break limitations and concepts from the mind, not to get things in the world (kinda like Neo learning to bend the spoon in the Matrix if you get me lol). The latter will only pull you deeper into ego and the world, which isn't conducive to self-realization (if that's your goal) if you're focused on satisfying ego and the worldly life. If that makes sense and you resonate and agree with that, then we are on the same page but not everyone is and that's okay too, just do what feels right to you. Just sharing my reasoning :)

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

I've been reading this book called Parallel Universes of Self because I read the author Frederick Dodson had an interesting reality shifting experience. I didn't expect to read info on manifestation but they are pretty much the same. I have a few books of his that I'm skimming through out of curiosity and there's some interesting stuff (I might share some other things later, he doesn't just talk about manifestation, but also consciousness, reality and even non-duality).

I thought I'd share the below excerpt because it's explained really well and might help some others. It's also a nice succinct summary of what Ada and Soph talked about for materialization/manifestation as well. I can remember pretty much 95% of the things I've ever "manifested" were from when I acted the way he described after I had decided "it is done". It's easier to do this for things you don't care about because you just end up forgetting about it entirely and then it shows up and you're like 'oh yeah!! nice'.

In the hours, days and weeks after simply rest in the new viewpoint, rest in the fulfilled reality. This means that you don’t try to “make it happen” because you have already claimed it as real. You don’t affirm, visualize, repeat or wait for it. You don’t hope for it to come in some future. Because you have claimed it as already real you don’t even think about it much either. You don’t ask when, how, where it will show up. Instead you simply do what offers itself to you throughout the day, and this will involve commonplace activities. Daily life continues in a natural manner without neediness or lack. Once in awhile you may want to re-feel the body sense of the chosen reality, and enjoy what you have claimed as true, but often not even that is necessary. Furthermore you needn’t be “acting as if” the desired reality is manifest, for that still implies separation. Simply cease to behave in a way that presupposes that it is not already so. You may refuse to ascribe relevance or importance to any events that seem to contradict your newly chosen reality. From the new viewpoint such events may still exist and come up but they are no longer relevant enough to be reacted to and interacted with. They may be the way things are at the moment, but they are no longer the way you are. The corresponding physical manifestation will appear when you stop needing it, chasing after it, looking for it but are instead willingly and lovingly identified with it…not for the sake of “making it manifest” *, but for the sake of experiencing its joy in the here, now and today. *Because trying to make it happen/manifest reinforces the idea/belief that it isn't

This is the same as what 4dbarbie said about getting ego out of the way or as Lester Levenson said, let go and let God. Just let it happen and stop trying to control the process because the more you try, the more you reinforce the fact that it isn't already so. Basically stop putting in effort once you know it is true, just continue knowing with calm and ease that it is the way you want it. Ada also said here:

If you have thoughts like "I need to say my affirmations", "I need to check my state", you're not living in the end but still desiring. When you're able to look at the thing you desire as being something that was once a dream, but now only a memory - you've entered the state of the wish fulfilled. When desire turns into identity, you know you've succeeded in fulfilling yourself.

Yes we're conditioned to think we need to work hard and put effort to earn things in the world but when it comes to manifesting, this sort of mentality will only sabotage and hinder your success. You can literally just decide you have it and then never look back. This sort of mindset can take a bit of time and practice to get used to because it is not something we're used to but the more you practice, the easier it gets.

Here is an excerpt from an astral projection book (I think it's from The Illusion of Method?) I thought was really apt at describing this too. He's talking about AP but you can apply it to manifesting or pretty much anything as well.

Unless you are masochistic, I ask you to reconsider the painful idea of obsessing about time. Bear in mind that results will come whenever they have to, and counting the minutes won't make the outcome arrive faster. It's best if you just forget about it, and accept that it is something that you can't control. You must be patient—most of the time the desired results arrive immediately after giving up control of time. If you are frustrated and/or are afraid of failure, then it means you believe you are in control—and this translates into the feeling that you are responsible for both positive and negative results. Well then, stop thinking that way! Exempting yourself from responsibility is the best course of action there is. As seen in the previous chapter, those who project on command are the ones who couldn’t care less about AP. But the more you obfuscate yourself, the lesser your chances of success —and trust me, you won’t want to get trapped in that vicious cycle. Astral projection works when you stop worrying about failure because you trust that it will happen, whether you “do” something or not.

It’s the same thing: just in the same way that being hasty for sleep to occur keeps us wakeful and alert, being expectant over the OBE will keep us caged in the physical body. If the mind is constantly thinking about the goal, it can easily enter a state of expectancy* and impatience. In such state, the mind is no longer relaxed because expectancy is a state of unrest. This form of tension is what hinders the outcome—thus, the key to being relaxed (i.e., essentially lacking mental tension) is to forget about the goal entirely. If you don’t have the goal in mind you don’t enter a state of expectancy, and therefore you are free from mental tension. *expectancy is the same energy as trying to make something happen.. reinforcing the idea/belief that it isn't so

So, exempt yourself from responsibility means there's nothing more to do because ego is not in control and can do nothing.

#writings #from my drafts #creation

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thecurioustale · 8 days ago

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I Went into the Caves

I reread nostalgebraist's The Northern Caves (TNC) this weekend for purely selfish reasons, and wanted to share a few thoughts...

I originally read this book when the final installment was published, late in October of 2015. For me, this happened to be during the single sharpest downward gradient of my entire life: I'd just finished up the so-called Year of 32, my most creatively productive period ever, but my life circumstances had changed drastically for the worse, with health and financial and family problems (and more) all at once, and I had found myself thrust into a new chapter of life that I call the (Joshalonian) Troubles. To go from one of the best years of my life to one of the worst was not a fun thing.

I had read TNC while still early in the "fall"; in fact things would go on to get much worse for me from there. But the seed had been planted for this story to be very important to me personally.

For those who aren't familiar, TNC is about a fan forum for the fictional Chesscourt series, by children's fantasy author Leonard Salby. Some members of this forum get the chance to explore Salby's unpublished final work, which, unlike the quaint children's fantasy novels of the Chesscourt series, is a cryptic, 3,000+ page tome of gibberish and horror and surrealism. The monstrous nature of the book gets into the minds of these forum members, and they end up in a drug-fueled, days-long manic state, reading the book together out loud at the house of one of the forum members.

For me, this monstrous book, which also has the title "The Northern Caves," was the draw of Rob's TNC. Even though we only get to see a few fragmentary excerpts of it, I was completely riveted by the premise and by the excerpts. The story of Rob's TNC, about the forum members engaging with this work, wasn't what drew me in. Yet when I was rereading it this weekend, I also read some of the AO3 comments on the chapters, and I found that most people had been almost completely absorbed in that aspect of the story, and didn't seem to be trying to directly comprehend Salby's TNC at all. It just goes to show that different people will get different things out of the same source material.

One of the things I most deeply crave in life is to encounter and experience "the other world," i.e. the mystical, the beyond. This has always been a pursuit of my storytelling, and is indeed how my mind has been structured for my entire life. Even when I was very young, I would map this desire onto things like vacation road trips, where we would drive away from home and into some other, wonderful place, by way of passing through many other, wonderful places, liminal places, to arrive at our destination.

Well, those final months of 2015 and the first several months of 2016 went very badly for me, till in March of 2016 I finally escaped the situation that was the single biggest source of my stress. But harm had been done to me, damage of a kind I had never before sustained. What followed was the mortal demise of the old Josh: Once I was in a safe place again, albeit with many other troubles still among me and ahead of me (not least that I was homeless at the time, and relying on the hospitality of friends), I first felt a great fatigue, which preoccupied me for several days. Then, a few weeks later, I had one of the most interesting experiences of my life: I think the term that would most quickly get the point across is "psychotic episode," even though I wouldn't use that term myself, as I was fully in control of my behavior and speech. But a funny thing happened to me when I would sit down to write, in that sunny office of the home where family friends were hosting me, during a week when they were out of town for Passover and I had the whole place to myself:

I composed a series of short pieces loosely telling a bizarre story. This is where the seed planted in my mind by TNC months earlier finally bore fruit, for my style was very much inspired, directly, by the Salbian style in TNC.

My story consisted of material like this (this is one, continuous excerpt; there are no cuts here):

May I ask you a persona lqoeutns? How do you know ll 26 nbubers? If where more than 26 numbers how would we have mathemathicsmomg? A don’t nw’ ijow gonigo to the bakery o ngo minutes on et imo elovne fnow tmrweio ncoirrect toemperautre.

HUSH NOW MY DARLING THE NUMBER NINE IS

static

Gracious are the houses of the DORAL> Plentiful are the tables he spreads for his esteeme dugest. Even though the splendors of his bounty are bested only by the GREAT SLN.

FLESDGLFGING MY WINGSO THIDID NOW THOGING THNOW NOW EW E FALL FROM THE NEST OTO BA F TAKE FLIGHT AFOR THE FIRSRTR TIMRO BUT THE WUNDERCARRIAGE OF OYUR WINGS IS TNDER AND YOUNG AND WE CANOT GUARATNEE EGHEROGUNA AND THE FLIGHT IS ROUGH EVEN WITHOUT THE TRUBULENCES WTHAT WE KNOW ARE ALL AROGUND US THOU IT LOOKS EASY BY THE ECAMPEL OF THE EPXIERENCED GENERATION YET WE STRUGGLE AIND FLUTTER AND WE ARE TRIRED WHEN WE LAND.

good grief gentle gosling now for the dinner table you are

if we don’t know what the air is ssupposed to be?

IU WANT AND EXPLANTION FROM THE CAOSMOR.

Understandably the selkie preferred to eavesdrop:

“Pray what is the abstractification of fulfillment?”

“Let us go ask Father Christmas.”

And thus a great transversal of geography ensued.

“Father Christmas what is the abstatication of fulfillment?”

“Do not take that tone with me child.”

“Then what of my many toys?”

“They have been destroyed.”

“How is this a reply?”

“It is none other but a reply.”

“So be it Father Christmas I now know the antithesis of what I ask and thus I know what I ask.”

“Yes you do stripling. Now go on to Mount Sghar where F shall await you. and though in fact it be only the month of April may your Christmases ahead be equally merry.”

“It shall be so and merry do.”

What I wrote in that strange week wasn't principally a mimicry or emulation of Salby's writing, although Salby's writing was clearly the inspiration and certain conventions and devices used by Salby were appropriated into my own work at a low layer—such as the deliberate spelling mistakes, a character ("F") known only by a single letter, the direct reuse of certain words that were still in my mind months later such as "vouchsafe," and so forth.

But the work was all original. I didn't copy any of it, either directly or in the manner of rewriting phrases and passages that Rob had written. I wrote all of it myself, and rather effortlessly at that. I did not labor over every last spelling and misspelling; it all just "came to me."

What I would say, then, is that Salby's TNC was "the right inspiration at the right time." It was what my brain seized on to express the inexpressible. What I was actually going through was nothing less than the mortal demise of the Old Josh. My entire life as I had known it, and my sense of self, had perished, and I had escaped just enough of my ongoing emergency to have a few weeks of rest, and that was when I "grieved" or "coped" or whatever word you want to use. Really it wasn't grieving or coping; it was a spasm. A spasm of the psyche, poured into words.

Something that I have struggled with my entire life, although I only developed the language to talk about it very gradually over many years, is the fact that I find it exceedingly difficult to say what I really mean. If you know my writing (fiction and nonfiction) you know that it tends to be overbuilt: formal, in-depth, pretentious, and quite verbose. This is, in great part, a result of me trying to say what I really mean. Pithy, aphoristic speech doesn't usually serve my needs, and although I am at least moderately capable of writing it I don't tend to reach for it often. It's much more typical of me to try to pack as much meaning as possible into my words, resulting in quite a lot of words and rather a slow pace.

But with this week of essays I abandoned all of that, by saying what I really meant without regard to its comprehensibility to the reader. Everything I wrote that week, including the excerpt I shared up above, has a meaning. I can look at it right now and still see the meaning nine years later. It is perfectly clear to me; it makes as much sense to me as a typical piece of writing from me.

The only difference with it is that I'm quite sure it makes very little sense to you. It isn't readable. For that one week, I abandoned the effort to be understood—another lifelong struggle of mine—for the sake of saying what I really mean.

While the individual excerpts are fascinating by themselves (I think), they combine to become something considerably more interesting. Taken as a whole, the story I told isn't a particularly coherent one at a face-value narrative level: Very loosely (and with much oversimplification on my part here), the action of the narrative is about carefully following "indicators" to traverse "atmospheric geometries" and arrive at a place called "Mount Sghar." However, it does this by way of many detours, such as:

A1: CLASIFEDS

WANTED: EVIL LOGICIAN

aAre you prepared fro a fast-apaced career in the exciting world of LGOI>?e Yet you don’t wish to sopend oyour life giving lectures to students who don’t want to be there and engaguing in intraepartmental fueds with other lecturuers.? You think there’s no other way don’t you fiend . findout there’s another way o redound into the WORLD OF WORK!

PUll up your jodhpurs and your justaucorps until rthe sentiment overtakes you that LOGIC shall deliver your remittances frmor the cEntral Authority.

Live in the lap of luctury with swimming pools and bars and wet bars and gymnasia and sitting rooms and drawing rooms and solaria and convenientiously spacious closets with thpower of EVIL LOCI> But don’t fret supplicant! Your candidacy is not ineligible soimply because you have no logica ofl your wn. All you need is THE ONE OAMEWETH. then the appointment shall be yours without ado.

must have own railroad, biogenic weapons program, a trifle really

That's a classified ad. It doesn't literally figure into the story before or after its appearance. It is a standalone statement if you will, a single "sentence" embedded in a larger paragraph. But because so much of the writing for this story comes in incongruous and disjointed forms like this, it isn't really possible to extract a coherent plot per se, nor is there a protagonist or even a point-of-view character most of the time. Those roles are filled by me, personally. It's like a first-person POV story without the first-person POV.

As for what the story is actually about, it's a mixture of two things: The first, though I didn't consciously realize it at the time, is that, like I said, I was dying. It was the end of the old me. But that doesn't actually say anything about the contents of the story. For that, and the true answer to the question of what this story is about, is that this is a story about trying to be understood. Ironic, huh? 😂

I wanted to say what I really mean so that I could be understood. This was what I was expressing, during this death-of-self, because I had never truly achieved it, and I was bitter and frustrated, and I was leaving this world without closure or resolution on those matters.

To "not be understood" is one of the fundamental conditions of aloneness. We are each apart; we cannot truly share our perspectives in full. We can never be understood in totality. And that fact hits a lot harder for someone like me who never had unconditionally loving and emotionally present parents or a ludicrously loyal and always-on-call gaggle of "best" friends as a kid.

In full disclosure, this story is saying a lot more that I can't see myself getting into here, because to explain it in communicable terms would, after all, be a rather tall ask; that's why I wrote it so incomprehensibly in the first place.

Rob's TNC gives us Salby's TNC as something that is deliberately meant to be inscrutable but with profound insights just-on-the-cusp of becoming realized, as a way of engaging the mind of the reader, giving it something to chew on. The story I wrote isn't "deliberately inscrutable"; it's not a toy for readers. It has a clear message—to me perfectly clear in every detail; I'm sure I could account for you nearly every single turn of phrase in the entire thing, even nine years later—but it necessarily isn't clear to you. That's kind of the point. It is a demonstration of my struggle to be understood.

This is the last thing I wrote in my journal before those stories began:

I am so frickin tired of playing by the rules: having to communicate coherently, having to crack my eggs from the right damn end, having to live like a bolt of lightning in a suit and tie and cubicle. It’s not dignified and it’s not true.

That statement about the comprehensible stuff being both not dignified and not true really rings for me even today. The incomprehensible stuff was more honest, in a way, and carried more majesty in its word count.

That one week was a very special time in my life. I have never been able to write like this before or since that one week. I've tried for much of my life; see for instance the words of Sourros in The Great Galavar, from 2014 before any of this happened.

The Troubles would continue for another two years, and in March of 2017, eleven months after I had my crazy storytelling week in California, I wrote the first major contribution to what would become the Galaxy Federal Inaugural Novel, which in many ways is the direct continuation of my work in this incomprehensible story. I've even found ways to incorporate some of this bizarre text!

Rob's story gave me an "other world" I could sink my teeth into. I find Salby's disturbing philosophy of Mundum very interesting, and am able to comprehend it (I think) without actually subscribing to it. But Salby's unhinged writing in particular is a lasting wellspring, and it shows how "built different" I am that so few other fans of TNC focus on this aspect of it. Like, I just don't really care all that much about the adventures of the Chesscourt forum members as they get together and pop pills. They were merely vehicles for me to get more glimpses of Salby's TNC. Rob's work in creating the coherent-yet-inscrutable ravings of Leonard Salby is extraordinary, but, ultimately, unless I have missed Rob's meaning (which would also be ironic, lol), there is no deeper purpose to it than that. My inscrutable ravings, on the other hand, are "real." They actually contain important messages that I personally endorse.

There is something so compelling about text which is perfectly meaningful but nearly incomprehensible to anyone but the author. What happened to me that week was just an altered state of mind. But of course it felt at the time, and ever after, "magical." Such is the sentimentalism of the human mind.

I don't struggle to be understood any more. I accept that I won't be. And in some ways the Galaxy Federal Inaugural Novel is me describing how I feel about that. But! While its ultimate messages may remain forever hidden, unlike the gibberish above at least you'll be able to read it.

#The Northern Caves #Galaxy Federal #The Great Galavar #The Curious Tale #Leonard Salby

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thesophiewhit · 2 months ago

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PHONING FAUST -- A Sapphic Novel of Demonic Contracts, Demisexuality, and Yearning by me! A cool queer author ~

Are you LGBT+ or BIPOC or just REALLY LOVE BOOKS? Interested in being an ARC reader and reading a book and helping a fellow queer indie author out? (Pretty please? -- ARC links all the way at the bottom of this post (beneath the rainbow banner) for those who like Sapphic demon x human angst books ~)

AND LOOK AT THE CHARACTER ART OF MEMPHIS (BADASS DEMON) AND DIAN (HUMAN) BY MY ARTIST FRIEND SNAX

https://linktr.ee/artsnaxk

ABOUT ME

Demisexual?? Queer? Nonbinary? All these were magical words to me until it hit...

Oh-- that's me.

It took me a while to come out as queer, longer to come out as nonbinary, and then some more time to reconcile all this with being a mixed Indonesian kid. A dash of mental health, a sprig of figuring out asexuality and neurodivergence. But atop all that? One thing has been constant.

I've always been a writer.

That's some live footage of me summoning some forces to reign my characters in from being feral.

WHY I WROTE PHONING FAUST

Well, well, well, after years of battling imposter's syndrome, I did it. I wrote another book! It's called PHONING FAUST and it's getting published with queer indie publishing company @ninestarpress-blog because they're all cool and LGBT+ and super talented!

Why did I write PHONING FAUST?

What is... a Faust?

A Faustian bargain is what's popularly known as the devil's bargain. A usually losing situation or a trick where the devil tricks someone out of their soul in exchange for ULTIMATE POWER!

I rewrote Faust to be Sapphic as can be. It stars a mixed Indonesian lesbian named Dian Faust who battles depression tooth and nail and ends up calling a mental health crisis hotline. Bc... she's lonely.

PAUSE-- and this is a horror comedy. Comedy. COMEDY-- you might say?

WHY? HOW? Sounds sad and depressing, right?

WHAT'S FAUST?

Well... in the original retelling version of Goethe's Faust (who retold it from folklore etc etc) the main character of Dr. Faustus accidentally summons the devil or something when he too is about to consider the meaning of life and it gets sad bc he doesn't see one so he makes the devil's bargain FOR ULTIMATE POWER. Or something.

But in my version-- it's based off my experiences as a queer person. Before I had community. Before I understood and accepted myself-- I had a rough time. For a whole bunch of factors outside of that-- I didn't feel like my life was in a good place. And even worse-- I felt isolated.

THE PLOT

I didn't want to bother my friends with my problems. So-- I'd call the Trevor Project or a crisis hotline just to have somebody to talk to. In the same way-- Dian Faust is struggling with depression in the story I write. So she calls a hotline like the Trevor Project just to not be alone.

And guess who she finds?

A super hot genderfluid devil called MEMPHIS, short for Mephistopheles. A pierced and tatted punk rocker who has an interest for telling tall tales and serving Dian Faust's every wish and command! (No, not like that!)

Because Dian Faust, like me, is a mixed Indonesian kid trying to figure out what it means to be queer AND demisexual (finding attraction only after really getting to emotionally connect with someone and feeling, as I explain in the book, a lack of that before then for anyone). And she's figuring plenty out--- including how to save her immortal soul and her feelings for a certain genderfluid demon but if you want to know more-- YOU CAN BUT YOU HAVE TO SCROLL TO THE END OF THIS POST TO FIND OUT !

I wrote this book PHONING FAUST (coming out in 2025 sometime with NineStar Press btw. I have these books CATCH LILI TOO and WAKE THE DEAD also starring Sapphic demiace MCs if it's helpful while you wait!

I WROTE MORE QUEER BOOKS (if interested)! (ARC SIGN UP LINK IS STILL BELOW THIS ONE THO! > FOLLOW THE RAINBOW !!)

MY OTHER QUEER BOOKS: https://sophiawhittemore.com/books/ ) <3 <3 <3

I wrote PHONING FAUST (train of thought, sorry, that's the neurodivergence) because I wanted people to feel less alone.

I was, like Dian Faust and like a lot of people, a queer person who felt like I was on an island unto myself. I didn't know who to turn to-- so I turned to no one. By reaching out to hotlines (no hot devils unfortunately), I managed to get the help I needed to avoid making rash decisions-- to get the help I needed to get better. To take that first step.

PHONING FAUST is a novel that raises the importance of mental health and finding community, and most importantly, not giving up. As Dian Faust says in my upcoming book...

There are stars out there-- I had only to see it.

***

🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈

🌈🌈🌈🌈ARC LINK SIGN UPS HERE 🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈🌈

ARC LINK SIGN UPS IN LINKTREE <3

Want to be an ARC reader for this queer book starring a demisexual Sapphic couple and BIPOC cast?

***

Hmmm, demon contracts...now where might young 2010 emo me have heard that before... ? ?

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blitzwhore · 8 months ago

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I just saw Blitzø get called Stolas stockholm victim I can't with this fandom anymore😭

😂 As outrageously incorrect and stupid as that take is, I'm going to go on a tangent here. I hope you don't mind.

I think every fandom has annoying people with awfully terrible takes in it. People with zero media literacy. People who hatewatch. People who think they're entitled to the exact show they would've wanted, which has nothing to do with the actual, existing show.

This is especially true for queer media, and especially true for queer cartoons. (Hi, yes. I was active in the Adventure Time, Steven Universe, Voltron, and She-Ra fandoms when those shows were airing, respectively. I've seen some stuff). Some people just can't handle queer cartoons, period. If the queer characters/ships are soft and wholesome, they're infantilising and boring, and if they're complex and nuanced and actually have conflict, they're abusive and problematic. You'll hear the same recycled arguments over and over again. Like, the shit some people are saying about Blitz and Stolas after The Full Moon? Is literally almost word-for-word what they said about Catra and Adora post-season 3 of She-Ra (and even at the end of the show).

Here's the thing, though! Those people and their bad takes are not what I want to think about what I think about a fandom. Those aren't the people I want to call the fans. They don't deserve that title. Not when so many other people are out there dedicating their time to making gifs and art and meta posts, and writing fic, and commenting/reblogging to show support, and sliding into people's DMs to scream and squee together about a thing they love.

At the end of the day, "fandom" is just a lot of people each doing their own thing. Which people you engage with and allow to stay within your line of sight will determine your fandom experience. Fandom can be a huge, convoluted, online space full of people who are constantly arguing with one another and whose takes make you unfathomably angry... Or it can be you and your 5 friends and mutuals who scream gleefully at one another in 2-note posts. You can't control what others post online, but you can control your engagement with it.

How? Well, here's what I personally do to avoid getting upset by people's stupid opinions online:

Filter 'critical' and 'anti' tags (eg. #anti stolitz #anti vivziepop #Helluva Boss critical #HB critical #vivziepop critical). Many people actually do tag their critical posts because they know it's the respectful thing to do!

If I come across a post that has one or more of those tags, obviously, I don't click through to see it under any circumstances.

If I stumble across a stranger's untagged post with hate/criticism that upsets me: I stop reading and BLOCK. Immediately. I don't look back. I don't finish reading. I don't engage. I just block block block. I <3 the block button, seriously.

If I feel my mind reeling from a bad take I just came across: I take a step back, close my phone, breathe, remember life is beautiful sometimes. Go back and watch an episode I really like. Clean my living space a little. Vent about it to a friend (but only if I really need to, because if not, I'd rather not dwell on it).

If I'm starting to feel the need to reply to someone's bad take (directly or via my own post), I instead make the decision to channel that energy into making fandom posts out of love. (I don't do this just with fandom. If I see something transphobic online, I usually react by reblogging a bunch of trans art or trans positivity posts on my main, for example). I like to think of it as putting some positivity out into the world to compensate for the negativity I just saw. So, for example, if I see someone shitting on my blorbo, I may make a silly post just saying how much I love blorbo. Or I'll make (or draft) a post about how interesting I find some of blorbo's actions. Or reblog another person's positive/interesting post about blorbo.

And finally, I stay the hell away from Twitter. Or at least, if I go on Twitter, I try my best to avoid any tweet that has text in it instead of just art. Even the people who have good opinions spend too much time arguing with the people who have bad opinions on there. I don't want to see people's bad takes! No, not even while reading founded and perfectly articulated criticism of those bad takes! So I just limit my time on Twitter. And again, if someone is putting bad takes on my TL (even if it is to counter them), I unfollow and block as needed.

All this to say, yes, it really fucking sucks to read the opinions of people who don't understand and who hate the characters and ships and worlds you love. Gosh it's the worst. But you can curate your fandom experience. You can focus on the things you can control. You have the power to decide if your fandom experience is draining or fun!

And because I don't know how to finish this, here, have a Stolitz kiss to heal you:

We will keep winning and there's nothing the haters can do about it. 😌

#helluva boss #stolitz #curate your experience #Long post #Kinda?#As someone who was around when Catradora seemed to be crashing and burning: we will win. Ignore the haters #Trust the process #The gays are traumatised and acting accordingly AND THAT'S OKAY #Also go and watch She-ra if you haven't <3 #And SU and AT #fandom wank

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tavolgisvist · 4 months ago

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Michael Lindsay-Hogg

about Let It Be and our lads

I showed the final cut to them and we all had dinner afterwards. Then we went down to a discotheque underneath the restaurant. Ringo was jiving 'til two in the morning, Paul said he liked the movie…It was all a very good experience until they broke up, which was only two months after they'd seen the picture ready to go.

And then, of course, there was so much going on to do with the breakup. First it was legal issues, but then legal issues became personal issues. By that point, Let It Be was kind of a little character in the corner saying, "Oh, remember me? Remember me?" They were not interested in it anymore, which they had been up until that point. There was just so much going on. … I didn't want the Beatles to lose their momentum. So when Paul came to me after the concert idea was off and said, “Should we stop filming?” And I said, “Well, no.” I thought, “Well, here's a chance to maybe do the documentary of the Beatles, which nobody has done before." Nobody had ever filmed them rehearsing. I didn't want to lose the chance, or risk the chance of their attention span going on to something else. So I was glad we stayed with them. … The Beatles were psychologically so interesting, having been together for such a long time. When they stopped touring in 1966, I think that had a very big effect on them because the other big bands kept touring. It makes bands more cohesive because they're stuck with each other. They're in a hotel room in Minneapolis and they can't leave the hotel because the crowd outside won't let them. So what are they going to do? They go down to the coffee shop, go get some breakfast and go back to their room. Nowadays they probably play video games, but back then they’d write a song. That's partly what changed for the Beatles, because they stopped touring and then they stopped living so closely and intimately with each other as they had in Liverpool, or performing in the Red Light District in Hamburg. Back then they were in the same hotel room, And then they stopped and they had to start to think, “What is my life?” I was always kind of aware in Let It Be that that's the point I got them at. I'd worked with them in ‘66, but by the time we were doing ‘69 they were asking the question that often people do ask: “What is my life and where am I? “ Even though they were so successful and so talented — they kind of had taken over the world — it still was the same questions: “Who am I, where am I, what am I doing?” … To get them on the roof was hard enough with the eleven cameras and the [camera crew] in the road and the two way mirror [with a camera] in the foyer [to film the police arrival]. But they got up there. And it was not a slam dunk even five minutes before we were supposed to be on the roof. There was still a sense of, “Well, do we want to do this…” I expected them to play the songs, but I didn't expect them to have so much joy in doing the songs. When I saw it the other night again, it's just so sweet. The way they look at each other, the way John looks over at Paul, and Paul and John. You know, they went to school together. They started writing songs when they were 16. And George embraced his part as the lead guitar player. You look at them and you go, “That's good, isn't it?” And that's the thing which is so miraculous about the picture: I didn't do it, they did it. The connection between them is so potent at the end that it almost breaks your heart to see…

(Michael Lindsay-Hogg, May 2024, interview with Jordan Runtagh for People)

Q: There’s the infamous “argument,” between Paul and George, which now looks really tame. А: Well, that’s very interesting you say that, because whenever they saw it, they never mentioned the argument. They never said, ‘Boy, what are people going to think?” Once we turned it into a documentary, Paul said, “If you find there are things that we say to each other that show, ‘This is who we are now, it’s not the way it was a few years ago,’ let’s put them in.’ So that went in. But that’s really what you could look at as an artistic discussion between musicians. It’s the same in the theater, the same kind of things the actors say when they talk about a scene. “Are you really going to say the line that way? You can’t say it like that.’ ‘But if you say it like this, I can’t have my reply the way I want to do it.” And so that’s exactly like that. So for them it was business as usual. Q: Why did it look so shocking to people? А: It was shocking because they still thought of the Beatles as the mop-tops. People still saw them as the Ed Sullivan Beatles, the way they were when they started. People thought they were so cute and adorable. Well, they weren’t cute and adorable. They were four tough kids from Liverpool who’d learned their craft playing in hotel-cum-brothels in Hamburg. I mean, they were tough. They grew up in Liverpool, which was a tough city. It’s like growing up in Detroit or somewhere. Somewhere, that toughness always comes out. But when people went to see Let It Be, the Beatles had just broken up, and so people were watching the movie trying to discover the reasons why they’d broken up, looking for things that weren’t there, because it was such a big issue for a lot of people. Especially in America, because the Beatles represented so much here: President Kennedy in November ’63, all that grief, then the Beatles on Ed Sullivan, February ’64, and all the grief is overcome by joy. Everyone in America thought they were so cute, wearing badges that said “I love Paul” or “I love Ringo.” This is when they were 22, 23, 24 years old. But then they did change. That’s what you see in Let It Be—the boys we have known are becoming men. People hadn’t seen the men yet. They didn’t know the men. And that’s what I think Let It Be does show.

(Michael Lindsay-Hogg, May 2024, interview with Rob Sheffield for Rolling Stones)

"Because the Beatles had been portrayed as the moptops, that they were just f***ing adorable. In real life, they were tough. This just goes back to where they came from. Liverpool is a tough town. I wouldn't particularly want to run into Paul McCartney in a dark alley, if he didn't like me."

(Michael Lindsay-Hogg, May 2024, interview with Brian Hiatt for Rolling Stones)

As the TV concert had been cancelled, Michael felt he needed a new ending. ‘So I said, “Why don’t we do a concert on the roof?” Since then everyone has claimed credit for it*, including the ladies who cooked lunch!’ Before the event, he installed a two-way mirror in the lobby downstairs. ‘I did it in case the police showed up. I knew some people would complain about the noise and as an American who didn’t really have a work permit, I was afraid of being deported,’ he admits. As it turned out, he had bigger problems. In the anteroom underneath the roof, Paul was raring to go. ‘Ringo said, “It’s really cold up there” [he ended up wearing his wife Maureen’s coat while drumming] and George said, “What’s the point?” John hadn’t said anything yet and there was a pause where the whole thing was in the balance,’ says Michael. ‘Finally, John said, “F*** it, let’s do it” and they all walked up the ladder, onto the roof and into history.’

(Michael Lindsay-Hogg, June 2020, Lina Das for The Weekend Magazine)

Q: You’ve said the rough cut had more of John and Yoko but that the other three members “didn’t want to have a lot of the dirty laundry” in there… A: I would not now call it ‘dirty laundry’. I would say that The Beatles didn’t want distraction. <…> Q: There’s one scene where Paul and George are arguing about what George is going to play… A: They never asked for that to be taken out of the movie… I think that, for them, that was a normal exchange between two musical artists who are thinking what’s best for the song. <…> Q: Who do you think was most invested in keeping the band together? A: Paul had the idea that they should maybe do a concert and the others more or less agreed. I mean, he’s a very strong personality. He’s incredibly smart… And I could completely see how that would focus them all. It seemed like a really good idea. So I would say Paul was the one who wanted that and it made a lot of sense. So that’s my answer to that question. Q: When George quit and then came back, he suggested moving to The Beatles’ Apple HQ to finish the album… A: Yes, he said, ‘let’s not worry about performing [the planned concert] and let’s just get out of Twickenham.’

(Michael Lindsay-Hogg, May 2024, interview with Alex Flood for NME)

“There are moments of great sweetness,” he said. “No matter where you put the camera, no matter how you edited it, they loved each other. Anybody who sees ‘Let It Be’ again will find that.” … The film was a victim of bad timing, in his view. By the time of its May 1970 premiere, the Beatles had broken up. Traumatized fans saw it as “a breakup movie: ‘Mom and Dad are getting divorced!’” he said. … He has preserved much of what he went through with the Beatles in diaries, which he has kept since the “Ready Steady Go!” years. … He thumbed through the pages and landed on January 30, the blustery day in London when the Beatles played in public for the last time. As captured by Mr. Lindsay-Hogg and his team, their swan-song performance was the climax of both “Let It Be” and “Get Back.” The diary page was blank, except for one word scribbled in black ballpoint pen. Roof. “The busier you are,” Mr. Lindsay-Hogg said, “the less you write down.”

(Michael Lindsay-Hogg, July 2022, interview with Alex Williams for The New York Times)

*Jan 7th

gif by @sgt-paul

Also Jan 7th Paul's 'colossal' idea about ideal end of their show

@crepesuzette2023, your tag 'Michael Lindsay Hogg would not like to run into him in a dark alley when he was in a bad mood!' reminds me I forgot to publish this :)

#michael lindsay-hogg #let it be #sessions: get back #the beatles #john lennon #paul mccartney #george harrison #ringo star #get back #peter jackson

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ilions-end · 2 months ago

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🎵 guess who finished the argonautica by apollonius of rhoooodes 🎵

the peter green translation served me well and i enjoyed the sizable commentary section, although it probably influenced my interpretation more than i'd like for a first read (green is VERY opinionated and also hilariously bitchy about scholars he disagrees with. the first time i've read such a sarcastic translator's commentary!)

BUT ANYWAY THE EPIC ITSELF:

iiiii have never felt this much anxiety reading an epic before?? there's an ambiguity and sense of danger in this poem's events that aren't necessarily WORSE than in other epics, but there's a feeling that i can't... actually trust the heroes involved. the argonauts are rowdy and reactive, and jason is NOT able to take charge of them -- he shrinks away and goes silent whenever his leader position is called into question. the mob rules, whoever shouts the loudest (often telamon!) in any given situation gets to decide, no thought of consequences.

or maybe reading about a main character who wants to do great things but suffers from debilitating conflict avoidance is a little too real. agh.

(and it's not like the thebaid! you can't trust the heroes in the thebaid either but their hubris and egos makes them PREDICTABLE. there's something unnervingly ambiguous and potentially unsafe about jason and his argonauts, even though they never get up to anything truly horrible. in this version anyway)

jason is incredibly intriguing -- even at his most unlikeable. it's like he tripped and fell into a story he doesn't belong in, he's so awkwardly miscast as a great greek hero and can't live up to the poem's own hype. he's described as heroic at every turn even when he's not actually being heroic, like in an INCREDIBLE passage as he fights the dragon teeth warriors and he's said to "valiantly hide behind his shield". LOOK AT THAT PHRASE!! HE'S BRAVELY COWERING. incredible writing. apollonius is genuinely a master of subtle sarcasm throughout.

like it says a lot that there are MANY variations of the line "but Jason, eyes fixed on the ground, sat there speechless, unmoving, at a loss in this crisis". and baby there are a lot of crises in an epic...

also maiden-coded jason still makes me vibrate! his frequently downcast gaze, his shy passivity, how delicately his body is described, the way he is a sexual object to pursue instead of the pursuer, how unusually tactile he is... one of the most memorable parts to me is when he finally gets the golden fleece, and what does he do? he doesn't raise it above his head in triumph, he doesn't wrap it around himself like a glorious cape and stride to address his men. he disengages completely and, spellbound, pets it and caresses it and combs his fingers through it in almost erotic delight. just. immediate zoned-out personal gratification, we're hitting masturbation parallels, no other greek hero would DO that!

which also makes it interesting that they use the fleece as bedding for their wedding night. i wonder which one jason enjoys lying with most, medea or the fleece...?

yeah so when medea appeared suddenly allllll my affection for jason evaporated. i'm not one of those "yay medea butchering her children is girl power actually!!" girlies (that's five hundred times too reductive a way to engage with a greek tragedy for me), i was prepared for whatever kind of medea apollonius would give me, but WOW SHE IS SO INCREDIBLY SYMPATHETIC (and intentionally so, see how she isn't even the one to kill her brother in this), she is SO ill-treated here. it's SHE who undoubtedly is the gods' plaything in this, not jason!

like how HORRIBLE her experience of being obsessively in love is! (turns out getting shot by eros' arrow is a psychological and emotional NIGHTMARE!!) how painfully aware she is of her own irrationality, how intense her inner life is. at one point she thinks so much about jason all night that she self-induces a (shockingly realistically described) migraine! she loves him so much she wants to kill herself instead of feeling something so intense and unpleasant and overwhelming. JESUS CHRIST it's so evocative.

she torches her whole life, her own safety, her own family for jason, and all he can do (after a lot of pushing) is murmur vague promises. it's HEARTBREAKING the utter helplessness she accepts to live in for him. there is no safety net for her, no way to regain safety if things go wrong (and you are so painfully aware that things WILL go wrong)

generally the argonautica feels more closely related to the odyssey than any of the other epics i've read. not just all the sailing, but the centrality of magic, and of course visiting a lot of the same places -- including the court of alcinous and arete before they had nausicaa (and arete is already the one in charge!)

more moments i keep thinking about:

that first lovely glimpse of the inherent dysfunction of the expedition as the argonauts have gathered for the first time ready for departure, and jason delivers a speech like "men! now that *I*, jason son of aeson, have arranged MY glorious expedition so that *I* can find the glorious fleece and win MY kingdom back, who do we all figure should be captain? 😉" and all the argonauts immediately start chanting "HE-RA-CLES! HE-RA-CLES! HE-RA-CLES!" it's so funny

heracles' role is generally so amazing, what contrast he offers! because HE IS the old-school hero who can do anything, fight any enemy, who has everyone's ear (if not respect -- he seems to be a LOT to handle, even for the other argonauts), who can LEAD. but they FORGET HIM ON AN ISLAND AND LEAVE HIM BEHIND, and now jason, tripped-and-fell-into-epic-heroism jason!, gotta be fully in charge and timidly face every obstacle himself.

i genuinely didn't know hylas getting abducted by the nymphs was from this myth! AND HE'S HERACLES' LOVER, actually the eromenos to heracles' erastes?? and heracles LOSES HIS SHIT TO AN ANIMALISTIC DEGREE at the loss of hylas. this is why none of the other guys brought along their boytoys, dude, this is a disaster.

i REALLY appreciated the introductory rollcall of EVERY argonaut (even if half of them were never mentioned by name again). i always wish we had something like that for odysseus' main crew in the odyssey. it's nice having that overview.

one of the most memorable glimpses into the lives of the gods i've read: eros and ganymede in the garden, playing knucklebones together under the shade of flowering trees and they're both so youthful and so inhumanly beautiful and the scene is so idyllic -- and then aphrodite stomps in and immediately snaps at her son "what are you grinning at, you unspeakable little horror?" she HATES that spoiled teen. it's zeus and ares all over again.

speaking of gods, that one time the argonauts make landfall, and in the distance they see apollo just walking across the land (each footstep thundering) and they're scared stiff and just wait until he's fully passed by... and then can finally get on with their business. no followup, no consequences, just a random incident to freak them out. it reads like an animal encounter, like they saw a huge bear on a hike, i'm obsessed.

i got jumpscared any time the text mentioned "the son of oineus". i'm like WHAT. TYDEUS?? but no, meleager's here, it's fine.

as i mentioned, jason is the one who murders absyrtus (although medea isn't uninvolved) but i'm particularly fascinated by how neutrally we're told about the rituals he performs to not be cursed for it. like there's our wondrous hero, cutting off his murder victim's hands and feet, lapping up the blood and spitting it in the corpse's mouth three times. all done, welp, time we were on our way!

circe can see at first glance that she and medea are related because they both have the sun god's golden eyes, i love that!. and THEN THEY SPEAK TO EACH OTHER IN COLCHIAN, WHICH JASON DOESN'T SPEAK. he's sitting right there and i love that he doesn't understand what these incredibly powerful women are talking about.

obsessed with how jason is described as "walking like the morning star" (bright, promising, bringing good fortune) on lemnos and is then likened to a star of destruction and woe as he's about to meet medea for the first time. aaaaa it's so good.

the argonauts being challenged to a boxing match, and I GUESSED CORRECTLY that they would choose polydeuces as their champion!! i am embarrassingly proud actually. i did not know there was a boxing match (to the DEATH) in the argonautica but i KNEW polydeuces was famous for his boxing.

also i love that when they get to the garden of the hesperides it's a WRECK because heracles was there THE DAY BEFORE!!!! what an incredible sense of time and place, only seeing the IMMEDIATE AFTERMATH of the labours of heracles.

it's so WEIRD when the argonauts get to libya and they're out of supplies so they all just immediately give up and cry and hug and lie down in the sand to die. until the local goddesses come like "JESUS ARE YOU FOR REAL WHY THE FUCK ARE YOU GIVING UP NOW. GET GOING FOR FUCK'S SAKE."

oh ancient texts, i will never get used to your incestuous dreams of good fortune (no it's GOOD that he cried with shame for passionately fucking his daughter in his dream, that's a very lucky dream to have apparently).

and then apollonius just signs off like "yeah i know they're not home yet but i promise nothing interesting happened after this point. THE END." like he's just NOT gonna touch whatever fuckery happens after, you wanted the argonauts well you GOT the argonauts.

#first impressions tag #the argonautica #apollonius of rhodes #jason and the golden fleece

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d-targaryenshoe · 1 year ago

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Rather Or Rather Not - Luke Thompson

Word count: 868

Summary: Would you rather answer questions by yourself or to be joined by your lover and a friend?

The grand ballroom on the Bridgerton set was abuzz with excitement as a game hosted by Netflix began.

You, Nicola Coughlan, and Luke Thompson, three of the most talented and beloved actors in the Bridgerton series, gathered around a lavish table adorned with candelabras and sparkling chandeliers.

The theme of the game was Would you rather, inspired by your beloved show, Bridgerton.

The air was thick with anticipation as you waited for the first question to be revealed.

"It's time to play!" cheered Nicola Coughlan, who portrayed Penelope Featherington, as she flitted about the room, handing out cards to each of the players.

"Remember, you must answer the question truthfully, and may the best actor win!" With a dramatic flourish, she flipped over the first card, revealing the first question: "Would you rather... binge-watch the entire series in one sitting, or have to wait an entire year for the next season to premiere?"

You all glanced at each other, knowing full well that this was a question you had been contemplating for months.

You, who portrayed the vivacious y/c/n, grinned widely and said, "Oh, I could never wait a whole year! I'd much rather binge it all in one go."

Nicola Coughlan, who brought the iconic Penelope Featherington to life, nodded in agreement.

"I completely understand," she said with a sigh. "It's torture not knowing what happens next."

Luke Thompson, your boyfriend and the man who played the dashing and mysterious Lord Benedict Bridgerton, chuckled and said, "Well, it seems you two have already made up your minds. In that case, I'll have to go with the opposite choice. I'd much rather take my time and savor each episode as they air."

You and Nicola laughed, impressed by his restraint.

The next question was revealed: by you.

"Would you rather... have your character end up with your on-screen love interest, or have them find true love with someone else?" you bit your lip, considering the possibilities.

"Oh, that's a tough one... I think I'd want my character to end up with their true love. Even if it means someone else gets the happy ending, you know?"

Nicola Coughlan nodded in agreement.

"Agreed," she said. "As much as I love my character with Colin, I think it would be more satisfying to see her find happiness with someone who truly deserves it if the story would be different."

The tension in the room was palpable as the final question was revealed by your boyfriend.

"Would you rather... have your character's life play out exactly as it does in the books, or have the opportunity to rewrite their fate and give them a different ending?" Luke furrowed his brow, deep in thought.

"That's a hard one... I think I'd like to see my character have the chance to write their own ending. Even if it means straying from the source material, it's important for them to have agency and make their own choices."

Nicola Coughlan glanced over at you, who was still lost in thought. "What about you, y/n? What would you choose?"

You looked up, a determined expression on your face. "You know, I think I'd rather rewrite their fate. Because even if their life isn't perfect, they can still find happiness in the end. And who's to say what's meant to be, anyway?"

The other actors nodded in agreement, feeling the weight of the question settle over them.

The final question hung in the air, unanswered, but for now, it could wait. There would be plenty of time for more questions, more laughter, and more memories to be made.

Because in the end, that was what being a part of the Bridgerton family was truly about: finding joy in the journey, no matter where it led.

The question was revealed: "Would you rather... spend the rest of your life in the world of Bridgerton, or step outside of it and explore new roles and experiences?"

Nicola's eyes widened, and she glanced around the table at her fellow actors.

"That's quite the quandary," she mused. "But I think I would have to say that I would rather stay in Bridgerton. Not only because I love it here, but because I believe that we are one family and that there is so much out there waiting to be told."

You nodded in agreement. "I feel the same way, definitely. This role has given me so much, and I think there are so much possibilities in this project. I can't wait to see what it still holds."

Luke, ever the optimist, added, "I'd have to say the same. And I know that whatever comes next, we'll always have Bridgerton and each other."

You all raised your glasses in a toast, the clinking of crystal against porcelain filling the empty ballroom with a joyous noise.

And so the game went on, the questions flying fast and furious, as you all shared your thoughts, your dreams, and your fears.

You discussed your favorite moments from the series, your hopes for the future, and the lessons you learned along the way.

You laughed and you cried, you debated and you agreed, and through it all, you all felt a bond that went deeper than any script could ever convey.

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