#but structurally this is very interesting to me

[togglesbloggle]

I've got to say, it's a very strange feeling, becoming the sort of person that is in the exact target audience for Buttercup Festival.

Like, this thing has been running for decades, since 2000 if you believe wikipedia, and it got around without ever being really discussed explicitly by people I know. The strips always drifted past me every now and then without incident- neither offensive nor inoffensive, a bit puzzling at times.

And then... something? Something in me, not in the strip, that much is clear enough. But now I just love these little things to death, on a good day it's competitive with Calvin and Hobbes or something else really top-tier.

And it's just bizarre, you know? They certainly don't rely on what you'd traditionally call humor, and even when there's a belly laugh it's not because there was anything like a joke per se. But if I try to explain to people what it is that makes the strip work, I just come up with all these ridiculous sentences that may or may not mean anything.

So I went from not getting the strips at all, and just walking past them without registering their presence, to really enjoying them and considering them one of my favorite comics ever, without once passing through a moment in time where I understood what made them so poignant. Just bouncing between two very different kinds of ignorance.

And that's interesting in itself, no? One kind of wants to reason through one's aesthetic preferences. I know I do. I suppose, on the grounds that I want to reason through everything. But my experience with Buttercup Festival seems determined to resist that treatment, at least so far.

Jokes as an art form are rather interesting- they get a laugh out of us before we know why they're funny, and discussions about humor tend to be unsatisfying after the fact. Explaining a joke doesn't make it any funnier, and the experience of 'funny' itself can't really be explained. Most forms of art, you can develop a deeper appreciation of the form by breaking it down in to specific shapes and methods and styles, and find new layers of beauty as you explore the structure of it. But it seems like laughter doesn't follow the same path, exactly.

Jokes aren't necessarily the only thing with this kind of structure. The koan, also, is supposed to open something to the student without any intervening explanation or analytical framework. Like a good joke, a koan often don't seem to make any damn sense at all, and like a good joke, a koan is often quite short. So that's two examples.

So there's this tricky thing where there's a class of experiences that seems to resist explanation, and we mostly encounter it through humor, but it's not actually limited to humor per se. I don't think I have the slightest idea where the contours of that thing are, or how to explore it, even though it's quite beautiful.

I don't think it's meaningless either, even though it sort of challenges the usual ways we define that term. I don't know how deep it goes, though it's much deeper than I expected. And you can grow in it over time, either because of certain experiences or certain insights or... I don't know. It wasn't signposted. I just kinda woke up here one day.

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[thehoneybeet]

this is a lovely discussion, and i love the concept of social recognition euphoria and same-hat intimacy, and i want to talk more about it, and what we mean when we say 'community'.

(@letteredlettered just made some very similar points in this post as I was drafting this, but i'll put this here anyway!)

going back to the initial post, i think i'm interpreting the Big Feelings somewhat differently than even the OP of that post. to me, this is not about comments or kudos, really, at all. it's about someone whose work was that 'same hat', same-aesthetic thing, who discovered that there was a whole private community of people same-hatting with each other about the author's work without extending that invitation to them. it's about realising there is a whole community of people who like the same things you like, who clearly adore your writing, who have the same hat, but have no interest or desire to have a hat-discussion with you about it. and that can hurt.

a comment is just an entry point into community. i have found community with some amazing people because of comments i've left on their fics, or comments they have left on mine. a comment, i think, isn't a goal in itself. it isn't the end - it's a beginning. it's a doorway.

whether a reader wants to open that door is up to them, as others have said better than i can. but that's not really what the root of this is about, to me. as others have said, quantifying kudos/comments is a poor substitute for the qualitative, soul-warming kind of witnessing and wet-braining that makes the fandom experience so wonderful. when you have a community who get your work, whose energy you can mingle with, it gets easier to not care about how many kudos or comments you have. and likewise, i think bad feelings surrounding kudos/comments are in a way, a facade for the the thing that hurts more - feeling the absence of that kind of connection.

as yiikes said, we aren't owed this nourishment, but i want to extend the conversation a bit into thinking more about how we create community with each other and other people we haven't met yet. what do we owe each other?

what they said at the end feels like the heart of things: "there are huge appetites for structures and practices in fandom that make that kind of intimacy easier for newcomers to find."

i've been here for a little while - longer than some, not as long as others. and lately, at least around my corner of things, i have seen a proliferation of a particular kind of fandom experience: the invite-only server, the private ao3 challenge, groups and experiences that you need to be in-the-know about to even begin to participate in. that, essentially, require an invitation.

these spaces can be wonderful, and there is absolutely room in fandom for these things. close friendships are some of the yummiest food in fandom. but often, the unintentional side effect of squeeing about these things publicly is that other people will see it (after the fact, at the end of challenge, etc.), and wonder how they too can participate, how they too can be inside, and they won't know. often, the view from the outside looks like a window, rather than a door.

i guess what i'm trying to say is that while we don't necessarily owe people comments, or conversations, or membership in our circles, i do think we owe each other to think about how we can engage in these things as kindly as possible. how we can make it easier for newcomers to ask to be invited in, how we can be more proactive about inviting, and most importantly, how we can encourage the kinds of community that don't require an invitation at all.

re - your last post, as a writer i find that to be an absurd take. people who write exclusively for validation probably shouldn't. if discovering your work is enjoyed and loved - just privately - is a dealbreaker for you, i think there are probably bigger issues that need to be worked through. the idea that we write fic for free and yet this discussion about "payment" through kudos/comments persists is so backwards and obnoxious.

sorry to tag you on this, obv you have nothing to do with op, but i just wanted to say - as a writer recs are a HUGE deal. to know that you liked something enough to share it with others is the biggest compliment for me personally. thanks for doing what you do.

I’m happy you reached out because this is a really interesting perspective. I definitely see increased messaging around comments = payment that pressures readers into thinking they are required to leave comments, and I agree that there are many layers in this convo that point out to a not-so-healthy relationship with fandom.

I find it hard to join this discussion not being an author myself, because I only have the privileged perspective. Ofc I understand how important feedback can be to boost newcomers and those who don’t feel part of the community. We all deal with insecurity in different ways and it’s hard to navigate a big fandom when you don’t have a group of friends to rely on. In the end the fandom experience is about a sense of belonging and it saddens me to realize that I might be part of the problem since my recs only reach Tumblr and my ao3 comments are far and few in between.

It’s funny because my blog has always targeted other readers: at the beginning I didn’t even tag authors and did not expect them to find or engage with my posts. Over the years the recs became more and more personal, until I realized I was writing them for myself. Sure, they are love letters to the fic and might help more people find them, but at the end of the day this is my little therapy corner where I can let go and babble around to my heart’s content 🙏🏼 I’ve always been proud of this blog and seeing that post gave me mixed feelings about it for the first time, so thank you for your message!

Again, I think this discussion has many layers and I’m a bit wary to get involved being a humble reader, but I’d be curious to see how others feel about it…

[lie-lacdreams]

Some headcanons in Thermo & Turmoil so far (for Curly and the reader)

Because I just inserted hella headcanons into the plot and feel an urge to explain all of them and then some more lol

(Before I begin I would like to start off by mentioning that I'm a bit clueless when it comes to using Tumblr so please forgive me let me be incompetent and ignorant in peace)

In this story, reader is in her mid to late twenties, like 26-28 years old. Curly is in his early to mid thirties (33-35), which means he joined Pony Express likely fresh out of college or trade school

Reader is a chemical engineering graduate student, specializing in green synthesis and catalysis. What this all means is that she has a particular interest in sustainability and organic chemistry

The way her morals and ethics left her body after getting accepted to work at Pony Express, a shady company with not the best green practices (she was desperate to find a job, okay?)

one last related thing - the timeline of when things happen in the game vs. in this story aren't very well-aligned. I'm going off of my own timeline for plot reasons

Okay, now on to more fun and general headcanons I have for Curly ~

I subscribe to the common belief that Curly is a big romantic. How could he not be??? He tried to seek out relationships throughout his twenties but remained unsuccessful to find someone who would stay with him through the crazy structure of his occupation. Imagine being in a relationship with someone who you couldn't see or communicate with for months to a year at a time. I absolutely get it

It all makes sense because he's absolutely married to his work. He's kind of come to terms that he can't have a long-term romantic relationship and a career as a freighter ship captain. Those two things simply don't go together well

At this age, Curly has reached the peak of his career - and when he comes back from another successful trip, he has quite a bit of monetary compensation waiting for him in his paycheck

Single and childless, he's financially comfortable - he has his savings but he also will pay the bill for his friends and family 8/10 times (would he fight for the bill? Of course not, he gave his card to the waiter halfway through the meal to pay)

He doesn't feel bitter about his lifestyle. He chose it, after all. Sure, he sometimes wishes that he had stability on Earth and a family of his own to go back to, but he loves living vicariously through his friends and that to him is enough for now. Every wedding, baby shower, friend's child's birthday party - if he's off the clock, he will absolutely be there and having the time of his life

Speaking of children, he would love to have some of his own someday, but as a single man who spends most of his time in a big metal box suspended in zero gravity, he doesn't know how to interact with them and is kind of awkward

He's very open minded to different cultures and new experiences.

Curly has been to a few Indian weddings where his friends would drag him out to the dance floor and make him learn Bhangra. He's jumping along like the rest of them, moving his arms animatedly to the beat of the music

like okay this white boy can dance! The crowd is so entertained

he's not a picky eater and would eat nearly anything. When he visited Thailand, the locals tricked him into trying balut (fertilized duck egg) and when he didn't react and mentioned that he didn't mind the texture that much, it left them confused and a little pleased

he sleeps warm and can't tolerate humid weather. Going to Thailand nearly ended him

He's so community-minded. This is why I could envision him with so many 1st/2nd gen immigrant friends. Man just gets it

This is also why the Chinese restaurant near where he lives loves him. The owner loves to use him as a role model for his son

You know that one family friend growing up that was stacked with accolades that your parents would compare you to? (or maybe that's just my own experience...) That is Curly for this poor little boy.

He's actually such a people pleaser, but hides it so well under being such a confident authority figure, so it just comes off as helpful and supportive instead

He loves when people go to him for advice. He may or may not have the experience to give the advice, but regardless he will try his best to come up with a solution

[hryniewiecki]

Grand Arcane S2 review

because I really need it to move on

Remember how I mentioned I could write an entire book about everything that went wrong with this season? Well, this is what a little excerpt from it would look like.

Let's start with a personal note to clarify my relationship with this hell of a piece of media.

S1 was this miracle show that was able to break through the several years of depression and anhedonia and make me interested in something, make me try to get back into making art (or at least try to try), to put myself out there on the internet a bit, to try be a part of something and not ashamed of enjoying it, which I never allowed myself before. Coincidentally, I've been at what I thought then was the worst place in my life when it aired and it helped me a lot to get through it. I didn't even think I would make it to see S2, as thee years felt like forever then. Taking all that into consideration, I think you can already tell where this is going.

I honestly thought I was prepared for S2 not being good, as no show could be this perfect. Turns out I wasn't prepared at all. Act 1 made me very happy, so happy I watched it two times, but the rest is something I would've never watch again and rather forget about.

The characters I wanted to see the most were Warwick (body horror, The Wrath of Zaun haunting the streets - got just a glimpse of that, but it felt like nothing) and Viktor (cyborgs and cyber gore, misunderstood idealist, Blitzcrank - got basically nothing; the idea was kinda there somewhere, but got changed so much it didn't matter at all).

I can't believe they took a godforsaken champion like Viktor and not only ruined his story completely, but also managed to fuck up everything else by all of a sudden making him a center of all of this mess. The center being the arcane/hextech/magic, which never even gets resolved/explained. Still no idea why it got corrupted and what was the nature of it; the void was never taken anywhere despite being heavily hinted - everything was evil because it was, but luckily the magic of friendship saved us!! (I'll get to that)

Speaking of crucial plotlines that weren't taken anywhere.. Basically every character got screwed over and made empty. Let's use Vi for a quick example (may not actually be the best example, but hopefully you'll get what I mean) - when I saw the pit fighter scene released early, I expected to see it have a continuation in the show, but instead it ended up just being the exact same music video, nothing more. And that goes for some more events - they get compressed into music videos that make it all incredibly hollow. Fight scenes are fine like this, sure, but not something that was supposed to be a bit more emotional and serious. Anyway, they successfully made me hate most of the characters. Either hate or just straight up not recognize them, and in a bad way.

Long story short the pacing is awful (it only gets back to normal in ep7, as it resembles the structure of S1) and the writing sucks ass. I can't for the love of god believe it was written alongside S1. There's no way in hell - it's literally all the worst fan theories I've seen come to life and get mixed with fanservice. *puts on a tinfoil hat* Maybe this is the real why they needed an extra year or two, as S2 was initially supposed to be released earlier. No way in hell the same people who wrote S1 and cared so much about the characters would do anything like this. Riot must've gotten heavily involved, making us believe they cut the story short (I think 5 seasons in Piltover/Zaun were planned initially?) for the benefit of it, but all it really was is greed - let's make a bunch of bullshit happen and quickly move to another region to sell more skins for new champions.

Now let's get back to the ending. Man, it really had it all - the nonsense, the multiverse bullshit which basically makes nothing make sense anymore (if there was anything left), the (yes, I'm going to say it, because that's exactly what I felt) cringe and embarrassment. Never seen anything more hollow trying to convince me it was deep and emotional (sums up the whole show perfectly).

How the hell the only thing that was supposed to save Viktor from himself was Jayce telling him he's perfect the way he is? Sure, don't try to cure your illness (that my city caused, but "fortunately" another crucial part of the plot, which is the sister cities conflict, ceased to exist), it makes you beautiful, this is who you are (miserable, unwanted, feeling meaningless and like a burden, dying). I am at loss of words.

Now buckle up jayvik fans. I wasn't a fan of the ship as I'm not a fan of any ships in general, but now I despise it. I wouldn't mind if they actually went on with it, which no, they didn't. We don't want two men kissing (women making out is fine tho, won't make the gamers too angry), so let's play extra safe to make sure it could be explained as any type of other close bond (and that's exactly what Christian Linke does when asked about it). You disgusting cowards, either you show me this in plain sight and I wouldn't give it a second thought, or don't even try bring it up at all (and you can't deny it wasn't implied in S1 with all the Viktor's looks and parallels to Mel).

Where do I even begin? Because I don't think you have any idea on how many levels it actually sucks. If you read it as romantic it's basically telling me that if I was a gay man struggling with my feelings and not being able to confess for years, because I'm convinced I'm unworthy of love as something is inherently wrong with me, then the best I could get after surviving all this (what honestly seems like hell) is a hug, because you're ashamed of me and thus I should be ashamed of who I am till the very end.

Something equally bad is Jayce finding out (or rather we finding out) how wonderful the world could look like if he let go of his beautiful dream, his life's work, and killed himself - it never gets denied, as the corruption of hextech doesn't get explained.

Long story short, if you're struggling with your mental health, trauma issues, disability or any of the problems the characters you related to deal with, this show spits you in the face.

I could go on forever about everything that's wrong (even Jinx got played dirty), but let's finish with the few things I liked: act 1 was promising (it's when I believed they could still make sense of Viktor), fun Sevika's arcade arm fight, the epic fight at the Janna's temple (Woodkid goat), Jayce killing Salo (I felt something) and Jayce's glitchy madness in general, young Vander flashback (felt something), ep7 and Singed's story (the only one that makes any sense).

Other than that the show left me with nothing but void in my heart (I guess that's when it all went). The saddest thing being the masses love it anyway, as it seems they'll watch anything that's colorful enough. And Riot will make lots of money of off it, because in the end they never loose. I'm not denying Fortiche absolutely outdid themselves with the art, it's just heartbreaking nothing else even remotely stands up to it.

[hypmarus]

In my very time consuming and futile efforts to settle on a pattern for little pongorma I’ve accrued a small collection of these guys I have no use for but feel sad shoving into a closet. This one especially has really grown on me.

This might be a long shot but if there’s anybody who would want to do some kind of trade for him I would be really happy to see him off to a life more fruitful than a storage container. I’m looking for other hylics items like plushes or physical art that I could display. I wouldn’t mind waiting at all if you’d have to construct your half of the trade. I’m open to really any ideas except money.

Some additional pictures and information under the cut

Nothing is structurally wrong with him I’m just not happy with the shapes or proportions. There are a few small ugly spots like warping around some seams and minor pilling/thinning along areas with heavy hand sewing, but generally what you see is what you get with this dude. He is slightly weighted and a little over 12in from the feet to the tip of the fishtail. He is pretty durable, but I would treat him more like a collectible than a toy for the sake of longevity.

Like I said, I wouldn’t mind holding onto him while you construct your half of the trade if you would need time to. You would be expected to pay the shipping costs for your half of the trade, but otherwise there would be no money involved.

If you could use clarification on anything or would be interested please message me! :)

[alexanderwales]

I finished the rest of Save the Cat almost in a single sitting, not because it was particularly riveting, but because I had time to kill, so this pseudo-liveblog is at an end.

Chapter 6 and 7 are basically the same, collections of small tricks and tips. Neither of them are terribly helpful, and all the tricks have terrible shorthand names like "Pope in a Pool". There's very little in the way of any thematic cohesion to these bits of advice, and no grand theory of the Laws of Storytelling emerges, in spite of the laws being invoked a number of times.

The advice itself is, I think, generally good:

give the reader something to root for early on to kickstart investment

spice up exposition with something entertaining

only one kind of magic per plot

don't tell a story that requires too much setup

don't tell a story with too many moving parts

include a ticking clock

have character arcs

keep the scope limited to the characters we care about

make the hero proactive

show, don't tell

make the bad guy very bad

the plot should go faster the further in it goes

use the whole spectrum of emotion

make sure each character has a distinct voice

make sure desires are "primal"

give characters something that makes them stand out

I don't endorse this whole list, and I especially don't endorse the way that Blake Snyder talks about them or the examples that he gives. And if I endorsed the list, then I would include a lot of caveats, and some general principles of storytelling that should be followed, rather than these specific pieces of advice, which are all conditional. Like ... okay, here's an example:

Exposition is a broccoli that the audience doesn't want to eat. There are very different ways of dealing with this, but we can start with "minimize exposition" as the first "law" of storytelling, and from there, we have different strategies:

Spruce up the exposition, making it into a mini-story, delivered in an entertaining way, so that people aren't bored.

Run something alongside the exposition so that people aren't bored, like sight gags in a comedy or an action scene in a thriller.

Have the exposition delivered through implication and clues, rather than stated outright, like having a character limp rather than explaining to the audience that they were wounded in the war. This is show, don't tell, and it's harder than it seems.

But while Snyder lays out some of this advice, it's all in different sections even though it's dealing with the same fundamental problem, and I'm not sure that he really understands that. If he does understand it, then he's not making that clear for the reader.

My thesis is that to understand storytelling, you want to understand root issues and classes of solutions. I have not written a book on writing, nor do I think there's a market for that, nor do I think I'm qualified, but it's the kind of thing that I would strive to deliver. There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?

But Snyder makes basically no attempt to put even very related problems together, it's just little bits of advice to gnaw at the most common problems, and ... maybe that's fine, but it felt lazy to me.

Chapter 8 was the final chapter, and was mostly about trying to sell screenplays. This was irrelevant to me, but kind of interesting, and also made me feel like Blake Snyder is a better marketer and salesman than a screenwriter, and also maybe just got lucky to be working at a time when scripts were getting huge bidding wars for no good reason. The efficient market hypothesis gets clowned on again, I guess.

I'll probably write up some overall thoughts, a short review: I think I am unsuited to liveblogging because I go long. But the even shorter version is that I think I picked up a few things that were interesting to think about, and while Blake Snyder is a hack, he's an entertaining writer.

[artisticxlly]

Some (actually a lot) of my thoughts on Kagehina; the theme of soulmates

Disclaimer: I am still somewhat new to posting in this fandom. Someone might've posted these same exact takes already (I'm not well-versed in Kagehina analyses). This is just my pure brainrot (also unfiltered, so this doesn't have a ton of structure, just a collection of thoughts)!

As I'm getting more into this ship, there are a lot of things that make me emotional about them.

A thing some people point out when it comes to these two is that Kageyama's backstory is shown extremely late in the manga as a 'protagonist' (or at the least a very essential character). You can argue whether or not it's done well, but for me this is perfect to demonstrate a full-circle moment, as not only did Kageyama find this person that Kazuyo promised would find him, you as the reader only get to realise that now as well.

And adding onto that, in my opinion it also contrasts nicely with Hinata, as his backstory is shown from day one, it is one of the first things explored in the manga. It starts and ends with them, so to say.

About their backstories: As someone who is very much invested in Kageyama's whole arc of 'king of the court', here is a speculation of how he actually got to that point.

Maybe this is a bit obvious, but losing someone like Kazuyo is devastating. And at the time, Kageyama would struggle with making new friends. He always stands out in those flashback panels as someone who carries a passion for volleyball like no one else (at least for his childhood) e.g., he gets made fun of for not owning any video games.

At its core, that intense interest in volleyball is what connected him and his grandfather so deeply.

It makes sense for Kageyama to desperately dig his nails into that remainder of Kazuyo, to train more and more, chasing that feeling of connection to someone he was actively grieving.

And another point would be this famous panel:

"If you get really good". And Kageyama takes his word for it, because really, his grandfather would be one of the people he trusts more than anything. And he practices until exhaustion, until he can't, because he wants to have a relationship (no matter the nature) like that again, wants a deep connection that he gains through his passion for the sport. He wants someome to find him.

I think Kageyama would reach a point where the amount of time he invests into training would be both physically and mentally unhealthy.

And perhaps, that's what also leads to him having no compassion for the people who don't share the same fire as him on the court (which is honestly a bit of a common theme for Haikyuu and its characters). He'd probably doubt a person who is like what Kazuyo described exists.

And then Kageyama and Hinata meet for the first time one the court.

The first time you read the chapter, without knowing Kageyama's backstory, it's moreso framed that he is insensitive, a bit of a jerk too. You could even go as far as to interpret the line as "what have you been doing until now?!" as Kageyama thinking that Hinata should've just practised harder, especially when he later goes on to say that Hinata should get "better" if he truly wants to stay on the court for as long as possible.

When you reread the chapter after going through the whole manga though, these lines make a lot more sense, and - depending on your perspective - are a peek into just how taken Kageyama is when faced with someone who has an equal drive as him on the court.

"what have you been doing until now?!" turns into "why havent I met you sooner?" and "get better" turns into "get better (than me), so we can find each other again" (As Kazuyo promised Kageyama).

And actually, Kazuyo's promise doesn't become fully realised until they're both on the court again, now in different teams.

That's why the flashback to that line is used then, not when Hinata and Kageyama first bond together in Karasuno. Not when they make it to nationals. No, when they're in different teams, after you see Hinata go through a whole lot of development away from Kageyama, then the promise is finally fullfilled. You could argue back and forth which one of them ended up being "someone better" but the point is that they found each other again because of it. Doesn't even really matter that they're on different sides of the court.

That's their arc, at least if you focus on Kageyama's backstory.

In general though, they are characters that continue to parallel each other, over and over. The amount of which is honestly almost absurd.

One of the biggest ones is just how much time they invest into practicing. The manga makes it a point with both of them that the people around them don't have the same energy as them and get tired out while those two continue (like maniacs /hj).

I mean, they even like the gym for the same reason, they're fond of the smell (which makes me mushy I won't lie, these goddamn weirdos /aff).

Another one is that they both want to play as long as possible. During the first chapter of the manga, this whole theme drags through the whole chapter, as they both talk about competing to get to stay on the court longer than anyone else.

A last one, that I just find funny, is that their numbers are ALWAYS one apart and sometimes even the same as in previous teams, EXCEPT for their third year in high school.

Junior high 3rd year: 2 and 1

High school 1st year: 9 and 10

High school 3rd year: 2 and 5

Adlers/Msby: 20 and 21

National team (2021): 9 and 10

Ali Roma/Asas São Paulo: 20 and 21

Like it's not funny, how much these two share even before knowing each other. And yet, despite all the similarities, they don't immediately get along in the way you'd think. There is this weird tension where they meet, they immediately get into an argument, too. But there is nuance to it. Izumi points it out actually, that Kageyama took Hinata seriously. The rest of the people there didn't think much of Hinata and his team, and yet Kageyama seemed to have this 'innate' sense that Hinata wasn't someone you should underestimate.

And they fight again, when trying to get into Karasuno, when they're in Karasuno, etc. etc. But it's never them genuinely disliking each other, it's just bickering at most. And as you read along you grow very fond of that aspect of them.

Maybe it is an overused word, but I don't think you could make it any clearer that those two are written to be soulmates.

Anyways, those are my thoughts! I'm obviously not normal about them, but I hope someone else can agree with these takes ^^

[martian-astro10]

You know that feeling when you start studying a subject and realise that the content is actually very interesting. I'm studying cognitive psychology right now and it's so interesting but it was made shitty because of a bad teacher. I feel like things like these really highlight the importance of good teachers for me. I hate neuropsychology, I HATE IT, the teacher's voice makes me sleepy, but when I told her I was having difficulty with the brain structures and all, she helped me through it, sat with me in the library for 6 fucking hours just so I could understand the concept (I also fell asleep while she was teaching me, but that woman didn't scold me ONE time, even tho she should have), was so gentle and sweet the whole time, that now, it has become my favorite subject (her voice still sounds like a lullaby tho)

[redg-blogstuff]

Update: The interest has gone so far that I've started to make a study for the mask so I can possibly recreate it in real life at some point

I've noticed that the general structure of the mask is that of a diamond, so adding a diamond to the head helps me figure out where each different part of the mask goes

what's more interesting is its symmetry which kind of shows the running theme of curing imperfections - the very motive that I believe corrupted Viktor in the first place

Arcane Season 2 Act 3 spoilers under cut

Am I one of the only ones who actually enjoys how unsettling the mask looks?

The way the face splits in two in order to make way for the rest of the mask fascinates me. The hollow, blank, cold expression within yet still showing a lingering light in the mask's eye holes. The light shows life. It shows a person inside there. I actually expected Viktor's mouth on the mask to move in an empty and uncanny way when he first appeared. I wasn't disappointed but I bet it would've looked cool.

I have no idea what I am rambling about I just absolutely enjoy this design and you cannot convince me otherwise.

[jojotichakorn]

the interesting thing about we are is that i believe it's the first bl i've ever seen that truly has one main character. there is a reason why phuwin is the most overworked of them all and why he jokingly complained about the fact that pond wasn't suffering nearly as much as he was, even though he is his on-screen partner. and there is a reason why phuwin said that peem is also the audience in a way because he kind of gets to witness and react to almost everything that happens in the series.

the world of we are is built around peem: it's him and his boyfriend and his best friend and his best friend's boyfriend and the rest of his friends and also his boyfriend's friends. even the things that are seemingly not connected to peem in a particularly direct way are still somehow influenced by him or perceived by him, e.g. tanfang happens because phum agrees to help tan hit on fang in return for meeting up with peem, and then when tan spills the beans about them dating, peem's reaction is centered slightly more than anyone else's, even though there are people who are closer to fang and similarly close to tan in that scene. and though we get insight into phum's life too, for instance, that still somehow circles back to peem, e.g. most phumfang scenes are them literally discussing peem or talking about their parents, which still comes back to phumpeem, as phum's family problems have a huge effect on the boys' relationship.

peem is the sun of the show, and the rest are planets revolving around him or moons of the planets revolving around him in one way or another.

[bookshelf-in-progress]

I love how a well-written romance is so often structured as a mystery. A person starts with a certain idea about another person, and over the course of the story, they uncover more evidence that gives them a fuller picture of who the other person truly is. They learn about layers to the personality and backstory that give the other person more depth. They learn how the other person's personality meshes with theirs. Even the third-act misunderstanding fits the mystery structure--it looks like they've uncovered the final secret to the other person's identity, which is that they're not the worthy person they seemed to be, but then discover that they misinterpreted that evidence, or the other person takes steps to apologize and repair the level of trust. When the mystery is resolved, they've reached a full understanding of each other and know they've found a partner they can trust their whole future to.

[poorly-drawn-mdzs]

End of Empathy (time for violence)

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[karanseraph]

Today's Double feature is Age of Extinction (2014) and Transformers One (2024).

General notes: these movies are made 10 years apart. Interesting. That means that like Transformers One came out in the 40th Anniversary year of the brand that Age of Extinction must have been around the 30th Anniversary, when there was that whole Thrilling 30 thing.

Transformers is animated adventure type genre movie while Age of Extinction is a live-action (with animated robots) movie in a sort of action blockbuster genre.

I didn't see many parallels between the two movies, not in the way I did with the other double features, where there's some clear parallel or an example of reversal from one movie to how the same element was treated in the other movie.

I've been trying to think how to word or to technically describe the difference in the whole feel and structure of these movies. It's kinda like if we imagine them as novels, then Age of Extinction was written in an omniscient POV which can show us directly things that happen millions of years ago or can show us different events from around the world that are happening at the same time. The audience doesn't experience the actions of Cemetery Wind team through the Autobots or Yaeger family, but the audience sees the actions of Attinger and his Rogue CIA group even before the Autobots learn the details. Which, I think lessens the impact when the protagonists do learn what is happening, because the audience already knows. We already know Ratchet got killed when Optimus finds out about it, for example.

In Transformers One the POV is somewhat more limited. The flashbacks and lore-drops have a diegetic presentation as Alpha Trion's recordings and presentations show the audience these past events as the characters are also learning of them. I feel this has more impact.

IIRC there are a very few instances in which the audience sees events in Transformers One other than when Orion or D-16 are present. I think there are a few scenes in which Sentinel reacts to the race or speaks with Airachnid that arguably is not in the usual limited POV following Orion and D. But most of the movie does follow them. There's even a fade-to-black when they are knocked out and taken by the High Guard. We don't witness how they are transported and find ourselves the audience there looking at Starscream on his throne. We also, don't see what happens with Elita between the time she's fired by Darkwing and when she enters the train where Orion, D, and B are hiding. But, we do later see her encounter with Airachnid when Orion is not present but only in contact over comms. It's not strictly one or two perspectives, but it is limited and expands only as needed to show a significant event.

Age of Extinction (and most of the Transformers live-action movies) jump around showing us what people all over the planet are doing. It's like the movie equivalent of reading a Dan Brown novel.

Whereas Transformers One, we could imagine, is more like reading a YA Science-Fiction/Fantasy novel that closely follows a few characters.

I think in terms of the ranking of the movies, Age of Exitinction is maybe very slightly above Dark of the Moon for me. Both movies still probably have way more human characters than they need and have some genre and tonal differences. And Age of Extinction has the time-skip/new team hurdle to get over. And Age of Extinction also has the weird episodic muti-ending feeling. *BUT* Age of Extinction has scenes of robots talking to each other and not just being props in the background. Bee doesn't talk/radio as much in this movie, I felt, but when we get Hound, Drift, and Crosshairs interacting with each other as well as Bee and Prime it's something that was missing from the previous movies. Like, some of the characters like Jolt, Dino/Mirage, Sideswipe had some actions or one-liners, but they didn't really have much interaction or personality. The bots in Age of Extinction have enough personality to have rivalries and disagreements but work through that to still save the world. Road Warrior Megatron + Sentinel Prime were much better than Galvatron. He was a lame villain. And those KSI bots were so generic (but intentionally because mass-produced knock-offs in universe) the way so many generic Decepticons showed up in scenes of Revenge of the Fallen or Dark of the Moon. But, Age of Extinction also has Lockdown and he felt like a villain with swagger.

So, this thing that Age of Extinction actually did better than the previous movies was then 10 years later done *even better* by Transformers One, in which they just made all the characters the bots, whether the main protagonists, antagonists, minor supporting characters, or background extras.

Since I found out that Transformers One is on Paramount+ in my region, and since I still have access to this service, I've been watching it every day and then watching some other Transformers content I have access to. Back-to-back like.

It's only been a few days.

The first day I watched Transformers One and then about 6-ish episodes of EarthSpark 'Season 3 '. Transformers One IMO, is the superior work. I don't hate EarthSpark (the obvious shift between seasons 1 and 2 does frustrate me). It generally does a lot of things I like. One of them is that it has an interesting animation style in which the 'Transformers Bots' come out looking very toy-like and the special effects 2D in style and it makes me feel like the whole thing is someone playing with toys, but in a good way (except one of the kids I'm playing with wants to go in a direction I don't like). Anyway, Transformers One is just a more epic thing all around. It's from the same era but made with different style and design. Less like toys (weirdly, considering Director, eh?) and more like an animated Science Fiction/Adventure in general. Also, arguably deeper resonance in the characters and their arcs.

The next day I watched Transformers One and then Rise of the Beasts, which only came out a little more than a year before. So, similar era of media, again. Animation vs 'live action' (but we know those bots are all animated just in a 'realism' style). The characters look pretty good to me in both. And the plots and characters and their arcs are different, but both are interesting and have resonance. I mean it's like the 'brothers' that turn into enemies with one, but then in the other it's largely about these two (three but Primal is so ahead of the others) guys from different planets trying to do their best for their own families and coming together to fight a destructive force. So, both movie are pretty epic. I kinda want others to watch these back-to-back to see what they feel, because one movie is like the one splitting apart and the other is about separate people joining as one.

Now, today I'm watching The Transformers: The Movie (I believe I own this one) and Transformers One back-to-back double feature. I'm still in the midst of this. But I think TF:tM holds up. It's 80s as Hell, right? 1986 up against 2024. But if I think about it in terms of "was this good or typical of its time" then both movies looked good in their era. Both animated, though different in technique and style. Both make use of Quintessons while the main foe is someone else. Both pretty epic plots. Both have that sort of cultural resonance where Transformers One does have those sort of Prince of Egypt vibes (I see what you did TFWiki) or like shades of Set and Osiris or vaguely The Lion King where there's a pair of close characters who split apart dramatically with betrayal. And Transformers: the Movie is very Hero's Journey itself borrowing heavily from Star Wars. Both these movies made use of some amount of celebrity casting and it worked. Transformers One several more girl or woman type characters than Transformers: The Movie, but that's also likely reflective of the eras in which they were made. Transformers One still mainly has the one main pink heroic girl and dark bad girl characters which is a thing with this whole genre of the action toyline adaptation, but yes, many other different types of bots in the background.

I think maybe Bumblebee tomorrow?

[fiapple]

i'm getting towards the end of the skypeia arc, & i'd like to say just how much i adore the way the female strawhats have been treated.

just... every aspect of how the way their characters have been previously contextualized influences the story-line is treated with a masterful amount of consideration. we're given so many layers to both of them that enrich not only their characters specifically, but the arc, and the one piece world as a whole. without nami & robin having their specific skills, and their specific values, without those being built upon, the story would have come to a halt.

you could not have skypeia without nami & robin being who they are as individuals. not just because they never would've gotten there without nami, but also because the way these women think is itself foundational to the machinations of the arc as a whole.

to be totally upfront, if you think any other strawhats were more central to the skypeia arc than nami & robin were you are full-on fucking lying to yourself.

[mosstrades]

im having an absolute unadulterated blast with the Ethersea prologue for many many reasons, it's beautiful and exceeds all my expectations.. but also. there's many moments here that genuinely make me go "oh god damn, these people are Americans." the Quiet Year system is a profoundly fascinating and revealing game - nothing tells you quite as much about how somebody sees the world than asking them to imagine a new one.