#but the main point i want to make is that fandom has been for many decades a distinctly anticapitalist and somewhat countercultural space

[lion-buddy]

being the resident nezuko liker is such a challenge sometimes

[andypantsx3]

And that's where both readers and authors should be looking: towards mending those community ties, however we can. Maybe that means giving up useless number-chasing if communities can't survive past a certain scale. We could choose to focus on the slow work of developing relationships and trust, creating smaller but more sustainable groups of people who can support one another. Even now, within the hostile infrastructure of the modern internet, I think these things are still just barely possible.

Alright, so: I want to explain a little more about this connection between the Twilight fandom, Fifty Shades of Grey, and seemingly, the self-publishing industry as a whole. It's a lot, so I'm going to have to chip away at it a bit at a time, and I think the best place to start is by describing the scene in late 2000s Twilight fandom.

In 2009, Twilight was one of the biggest fandoms in the world, although it was nearly invisible to outsiders because it

Was about a straight couple, while most other fandoms were predominantly gay, and

Was conducted almost entirely on fanfiction.net among a group of people who had little other background in fandom. (x)

That meant for many Twilight fans, Twilight was fandom. It was all they knew, and many had no path out. That also made it a corked champagne bottle with the pressure building.

Because of these community dynamics and the declining quality of the Twilight books themselves, Twilight fanfiction evolved to be mostly AUs so alternate they were more-or-less original romance novels that used Bella and Edward as broad character templates. (x)

Seriously, Twilight fandom got really crazy big for a few years there. It was not totally uncommon to get multi-million clicks on a semi-popular story. It's weird looking back on it and calling it "Twilight fandom" because it was really more like "Romance Novel fandom". For real, for a period there, calling a Twilight fanfic author a 'Twilight fan' would be the ultimate insult. But they never stopped writing about Edward and Bella! It's so weird. (x)

If you were in 2000s era fandom, you're probably aware of the phenomenon of Big Name Fans and the various social-climbing dynamics that happened around them. The Twilight fandom took this social power game another level:

This wasn't even just an author thing. There were Big Name Authors (BNAs) but there were also Big Name Readers. These were basically like... full-time rabid fans of a BNA. They devoted so much of their time to helping out the BNAs, reviewing their chapters, making them fanart, promoting their fics, kissing their asses with cringe-worthy intensity, you name it. Which is why you saw what looked like BNAs having 'employees', such as Moi, tby789's Director of Marketing. (x)

It became apparent that these power games weren't just for fandom clout. The fandom was proving that that social power could be translated into real-world dollars. You see, the Twilight fandom used to organize charity auctions where big name authors would auction off custom fanfiction, and the money generated was substantial:

Mostly authors would auction off stories. So if you donated in my name, I'd write you 10,000 words of porn in my Tattward universe, or something new, etc. That's how it worked. The 2009 auction raised $80,000. The 2010 auction raised $140,000. The 2011 auction raised $20,00. [NOTE: this is likely a typo] (x)

A lot of these dynamics were not unique to the Twilight fandom, but it was the combination that created a perfect storm of opportunism. This would end up changing not just fandom dynamics but the publishing industry as a whole.

[echoekhi]

I’m Declaring War Against “What If” Videos: Project Copy-Knight

What Are “What If” Videos?

These videos follow a common recipe: A narrator, given a fandom (usually anime ones like My Hero Academia and Naruto), explores an alternative timeline where something is different. Maybe the main character has extra powers, maybe a key plot point goes differently. They then go on and make up a whole new story, detailing the conflicts and romance between characters, much like an ordinary fanfic.

Except, they are fanfics. Actual fanfics, pulled off AO3, FFN and Wattpad, given a different title, with random thumbnail and background images added to them, narrated by computer text-to-speech synthesizers.

They are very easy to make: pick a fanfic, copy all the text into a text-to-speech generator, mix the resulting audio file with some generic art from the fandom as the background, give it a snappy title like “What if Deku had the Power of Ten Rings”, photoshop an attention-grabbing thumbnail, dump it onto YouTube and get thousands of views.

In fact, the process is so straightforward and requires so little effort, it’s pretty clear some of these channels have automated pipelines to pump these out en-masse. They don’t bother with asking the fic authors for permission. Sometimes they don’t even bother with putting the fic’s link in the description or crediting the author. These content-farms then monetise these videos, so they get a cut from YouTube’s ads.

In short, an industry has emerged from the systematic copyright theft of fanfiction, for profit.

Project Copy-Knight

Since the adversaries almost certainly have automated systems set up for this, the only realistic countermeasure is with another automated system. Identifying fanfics manually by listening to the videos and searching them up with tags is just too slow and impractical.

And so, I came up with a simple automated pipeline to identify the original authors of “What If” videos.

It would go download these videos, run speech recognition on it, search the text through a database full of AO3 fics, and identify which work it came from. After manual confirmation, the original authors will be notified that their works have been subject to copyright theft, and instructions provided on how to DMCA-strike the channel out of existence.

I built a prototype over the weekend, and it works surprisingly well:

On a randomly-selected YouTube channel (in this case Infinite Paradox Fanfic), the toolchain was able to identify the origin of half of the content. The raw output, after manual verification, turned out to be extremely accurate. The time taken to identify the source of a video was about 5 minutes, most of those were spent running Whisper, and the actual full-text-search query and Levenshtein analysis was less than 5 seconds.

The other videos probably came from fanfiction websites other than AO3, like fanfiction.net or Wattpad. As I do not have access to archives of those websites, I cannot identify the other ones, but they are almost certainly not original.

Armed with this fantastic proof-of-concept, I’m officially declaring war against “What If” videos. The mission statement of Project Copy-Knight will be the elimination of “What If” videos based on the theft of AO3 content on YouTube.

I Need Your Help

I am acutely aware that I cannot accomplish this on my own. There are many moving parts in this system that simply cannot be completely automated – like the selection of YouTube channels to feed into the toolchain, the manual verification step to prevent false-positives being sent to authors, the reaching-out to authors who have comments disabled, etc, etc.

So, if you are interested in helping to defend fanworks, or just want to have a chat or ask about the technical details of the toolchain, please consider joining my Discord server. I could really use your help.

------

See full blog article and acknowledgements here: https://echoekhi.com/2023/11/25/project-copy-knight/

[juney-blues]

June Egbert is, and always has been incredibly fascinating to me because of just, how many factors have conspired to make Homestuck fans show their collective transmisogynistic asses.

The main character of Homestuck transitioning is a planned future plot point for the official continuation of homestuck, that was spoiled in advance by a fan making a joke about finding some toblerones Andrew Hussie the author of homestuck hid in a cave.

The current main writers of Homestuck: Beyond Canon have went on record in an AMA confirming that this was indeed always the plan, even before they took up the project.

In spite of these facts, the general consensus among certain homestuck fans seems to be that "June Egbert" is purely a headcanon for the original comic that was "made canon" by a "Toblerone Wish" (a concept that didn't even exist at the time)

For a variety of reasons, the "canonicity" of the postcanon official continuations of homestuck is a mattter of much debate, (though a debate that most homestuck fans seem to err on a side of "it's not canon at all in the slightest," something the writers have feelings on I'm sure.)

All of these factors combined leave the concept of "June Egbert" in a very nebulous place. It's assumed by most to just be an "ascended headcanon" that was shoehorned in, it's a spoiler so it hasn't happened yet in any official media, and the official media it will eventually happen in is regarded by some to be nothing more than glorified fanfic.

If someone is talking about June Egbert, and you don't like the concept of June Egbert, you have your pick of a million different excuses for why she's fake and gay and not worth discussing and bad writing and just the authors doing a gay dumbledore*, paying lip service to representation while actually doing nothing.

And of course, lots of people *don't* like June Egbert! Rather than being introduced as transfem from the start, she's in this nebulous position of discovery where people have to truly reckon with the idea of a "Pre-transition Trans Woman."

You can try to write off *some* of the backlash as transphobia, because obviously not everyone in this fandom is gonna be cool about trans people.

But there's no shortage of fans just dying to tell you about how much they like reading her as transmasc, or the idea of her being nonbinary or genderqueer or genderfluid, or literally anything besides a trans woman. And since they're fine with all those other interpretations, there's obviously no implicit biases driving their distaste for the concept! (if you want to try explaining the concept of "transmisogyny" to people like this you're braver than I.)

you can trust them when they say it's *just* a problem with whether or not it makes sense with the writing, or it just doesn't feel right somehow, or any of the thousands of excuses that this writing situation gives them to just Not Like It.

It's just, so interesting to me. There's not a lot of characters out there that get a trans arc in this way, that leaves room for open denialism and insistence that we have our trans cake and eat it too... Because Homestuck is a timeline spanning multiverse story, lots of people seem to want it to be an alternate timeline thing. Assuring us we can have this character share space with a non-transitioning version of herself and it won't be weird or imply gross things about trans people.

If you ask me it feels like a plotline that'd be really good for exploring some gender horror though, finding your true self and then being demoted to a footnote, an alternate version, because everyone around you likes your pre-transition self more....

Anyway I have no broader point beyond "hey look at this isn't this kinda weird. You don't get this kinda stuff often!"

*side note: it's a little ghoulish I think to compare "a future trans plot point that hasn't been given the chance to even happen yet, in an already famously queer piece of media, from a nonbinary author" to "some stupid shit done by the literal most famous transphobe of all time" but that's perhaps a discussion for later.

[ambrosia-vinca]

There's a kind of defensive attitude towards criticism re:Lucanis' romance in many corners of the fandom that I partially understand because Veilguard gets a lot of shit thrown at it, and if you enjoy something you naturally want to defend it. But this type of attitude also rubs me the wrong way when people who loved the way his romance played out say that anyone criticizing it must just not understand slow burns/not like slow burn as a genre/not understand Lucanis' character and his trauma properly/must have been expecting explicit sex scenes and a Zevran 2.0.

Maybe some people criticizing his romance don't like slow burns, or were wrongly expecting him to be a sex god, or ignore his trauma. I've seen a few. But that's not all the criticism there is.

Personally, I love slow burns, it's my favorite genre both to read and write (I'm the type of fic writer to think up 200k words enemies to lovers longfics where they've barely kissed after 100k words). I'm also the type of ace person who's not into extremely explicit sex scenes or super kinky romances (especially with male dom stuff, which I personally dislike). And lastly, I'm the type who picks the angstiest possible romance choice.

All this to say that Lucanis and his romance were theoretically made in a lab for me. Slow burn because the character doesn't trust easily and is traumatized by his past experiences and has many things he must resolve, excruciatingly slow to open up? Unexpectedly very sweet, wet, sad man with puppy eyes? Romance scenes that are caring and romantic instead of outright steamy? Perfect, right up my alley! I keep romancing Fenris in DA2 exactly for that reason because I love him dearly, and he breaks up with Hawke for 3 whole years! Still my favorite!

But the whole point of a slow burn are the steps. It's a slow burn, which means little step by little step, the relationship slowly builds to a conclusion, from tentative acquaintances who don't trust each other, to slooowly evolve into something more, and it's precisely these crumbs that make the trope enjoyable.

To me, Lucanis' romance doesn't feel like it does little steps, it feels like it skips steps. I can see the main story beats of a good slow burn, but not the crumbs that make a slow burn. I don't want him and Rook to jump each other after 2 scenes, I want to see more of the fumbling, the hesitation, the dancing around each other. No, dragon age isn't a romance game, I'm aware, but if romance is an option, and it is written to fit a specific trope, I would like it done properly. They've done slowburns and angsty before, and they were good (even Solas', and his romance is super short). I want the evolution of the relationship shown to me, not told in broad strokes and big steps, and I don't want to have to write half the romance in my head or rely on ao3.

We get nothing between the coffee date and the almost kiss, absolutely no reaction of any kind to the flirting, not even a blink. If Lucanis and Rook were capable of having an entire conversation about coffee and kisses metaphors when they barely knew each other, then I think they can flirt a bit more in the following conversations when you pick the romantic option, dance around each other, have Lucanis fumble a little more like he does with Neve when he actually registers Rook is sincerely into him. Even just a sign that he heard Rook when they pick the romantic option in the following conversations, because as it is he immediately resumes whatever he was saying. And if his lack of reaction is because he's suddenly afraid and thinks it's a bad idea, I would like it shown on his face, or as an actual noticeable pause/hesitation. It didn't look like he thought it was a bad idea at Café Pietra, unless he just thought Rook was flirting just to flirt and wasn't serious, but again, none of that is hinted at in any way.

Then there's the almost kiss that follows and is the first actually romantic moment we get after the coffee date, and suddenly Lucanis is all smooth and confident about flirting again. With nothing in between ever since *Illario voice* he got all romantic about roasts. Was he reluctant before and that's why he didn't react to Rook's flirting/caring concern? We have no idea, because while he warns Rook it's a bad idea to be attracted to him, he doesn't seem scared, more amused at their daredevil tendencies. The first time in his entire romance we get a clear indication he's afraid and won't open up for a long time is at the end of this specific scene, when he pulls away, and the way it happens is like Lucanis himself wasn't expecting his fear to overcome him. He wants, he lets himself be pulled forward, and then he suddenly gets drowned by overwhelming terror, and he pulls away.

The beginning of the romance (the date + almost kiss) reads to me as if Lucanis was trying to forget the Ossuary, letting himself flirt and feel attraction and just simply live again as if nothing happened, believing if he didn't think about his trauma and forcefully moved forward then it would stay buried, and then the Ossuary unexpectedly caught up to him, because you don't just bury things like that, it always comes back up at some point if you make no effort to actually process what happened.

And then there's nothing again for a long while. I can imagine Rook leaving space for Lucanis because they're considerate of his feelings and they can see something is deeply wrong, but still, something big and awkward happened between them! Not even one conversation where they try to gently broach the subject and Lucanis immediately clams up? What about some mentions of how awkward things suddenly are between the two? Even through party banter? We got plenty about Hawke and Fenris' situationship in DA2 after Fenris pulls away. The other companions comment on their breakup and how it's painfully obvious they're in love still, no matter what happened, and there are a few banters between Hawke and Fenris themselves. Surely things are a little tense and awkward between Rook and Lucanis as well at that point, and their friends would notice? They don't spend as much time together as they used to, Lucanis doesn't talk directly to Rook much anymore unless he has to, can't quite look them in the eye, doesn't want to stay alone in a room with them. He is still protective of them because he obviously cares very much, but can't bring himself to have an honest talk about his feelings and fears because he's still completely locked in his mind prison and would rather deal with his problems by stabbing his enemies.

Rook being lost because they haven't been inside his head yet and they're not sure if it's because of what Lucanis has been through, or if they did something wrong to get them rejected, and they're stuck because Lucanis completely refuses to open up. There are so many little things that could have been implemented to actually serve as the little steps for the slow burn. You're telling me even Emmrich or Neve, perceptive as they are, wouldn't have noticed their two friends suddenly being awkward and sad and not try to talk to Rook about it at the very least?

And then there's the mind prison where Rook gets all Lucanis' fears and insecurities explicitly told to them. Immediately followed by the scene where you lock in the relationship as he makes them dessert.

Were they in a relationship?? When did they get together? Do they get together right there in the kitchen by the sheer power of cake (ok, relatable)? You don't know! They almost kiss, things are theoretically painfully awkward between them for a while, Rook discovers the substance of his trauma, and poof. They're a couple. Yes, I know that Lucanis' love language is acts of service, but did they communicate at all at any point about what's going on between them? Surely even if Rook helping him out of his head puts him on the road to eventual recovery, it didn't suddenly erase all of Lucanis' trauma and fears and doubts.

I liked Rook calling out the subtext of what Lucanis says in that scene (“it's nothing, or not enough”/”it is, and you are”), I did think it was sweet and perceptive of them. But still, we go from attraction to pulling away to suddenly committing to a relationship with never actually discussing exactly what goes on between them. Never outright deciding they want to try something serious. There wouldn't have been much actual flirting or sincere conversations between them after the almost-kiss, for obvious reasons, so how does Lucanis know Rook hasn't moved on/isn't angry at him after all this time, considering how they didn't communicate at all afterwards and he's not exactly the best at feelings and self-confidence? He just talks as if it's a given they're attracted to him still, and only worries about not being good enough for them. I wanted crumbs of reassurance from Rook, more than what we got, because Lucanis' probable guilt is never actually tackled in any way – he had perfectly valid reasons to pull away, of course, but considering how much he blames himself for anything and everything, I'm pretty sure he would also blame himself for hurting Rook's feelings, even if they're understanding and not actually angry with him at all.

Idk. I have a lot of thoughts, especially about the middle of his romance. The last big scene we get is one of my favorites through all dragon age games, it was so sweet, but I still felt like the entire middle part of the romance lacked a lot of slow burn crumbs, and I was still hungry when I got to the end.

[mockerycrow]

Talk About Sensitivity In The COD Fandom **Important.**

THIS IS NOT A DEBATE POST. DO NOT BOTHER.

Hey, everyone. After the reveal of Makarov in the trailer (as well as general concern), I think a chat about sensitivity is important. Since the trailer’s release, I have seen a major increase in simping for Makarov posts as well as genuine romanticization of Russia and/or Russian Soldiers. First, I want to talk about the romanticization of Russia and/or Russian soldiers because it’s seriously getting out of hand. I need you guys to realize that Russia is an ultranationalist country and yes, maybe not everyone who lives there believes what their government does, but it’s important to know a big portion of their population does. I have seen multiple posts and edits of this man right here (pictures below).

THIS GUY IS NOT SOMEONE YOU SHOULD LIKE, AND PEOPLE NEED TO UNDERSTAND THAT HE DOES NOT LIKE YOU. This is one of the most popular Russian Soldiers amongst the internet due to the way he wears a mask, gear, has an accent, and is buff. He makes videos teaching soldiers how to kill people—innocent people in Ukraine who are just trying to survive. I have seen people straight up ignore when someone tells them what this man has done, so let me put it this way—he does not like you. He wants you dead. He is racist, a homophobe, transphobe, antisemitic, etc. He absolutely hates The West, and he does not like you unless you are a cis, straight, white 100% Russian. Even if you’re a woman, he DOES NOT LIKE YOU. If you American, HE DOES NOT WANT YOU ALIVE.

[This part is not targeted; just a general statement.] Second; there is a serious problem with how you guys address Makarov as a character. There is absolutely no problem enjoying him as a villain because I do too, but you guys have to realize that Makarov is an ultranationalist—which is exactly what Russia is right now, an ultranationalist terrorist state. “But he’s fictional, it doesn’t matter! it’s not that deep!” It actually is that deep. I keep seeing content for Makarov and I can’t force anyone to stop making “fluffy fics”, but I need y’all to have some fucking decency towards victims and people affected by the war. I know people who are affected by the war who feel ill seeing posts painting Makarov in a good light. If you are going to write Makarov, do NOT romanticize him as a character—do NOT paint him a decent or good light, because you can’t. Write him like the bastard he is. And no, this isn’t a “let people write what they wanna write” situation. You can do that, but please be expected to be judged and blocked by me and many others. Makarov is quite literally the characterization of everything that is wrong with Russia, and what HAS been wrong with Russia. Makarov is not a bad boy, a rebel, etc, he’s a fucking terrorist. Please be for real. “But the military in general is bad, so why does it matter specifically around Makarov?” Please see above my previous reasons. Thanks.

The overall message of this point is to be fucking respectful. There are actual people dying and slaughtered for no reason other than ruined pride and a lot of Ukrainian folk seek comfort and distractions in the internet and their fandoms. This ruins it for them and quite frankly, sometimes how Makarov is being written? It’s completely insensitive. Anyway, below are a few links where you can directly support the efforts and the people of Ukraine. Peace and love, and please write with critical thinking.

[callmearcturus]

dottie lasso is the final boss of the show (and ted loses)

someone commented on my ted-is-a-feminine-junior-too post about recognizing dottie lasso and what she did, and i'm a Johnny-come-lately to this fandom so i missed all the discourse

but surely it's been discussed to death that Dottie Lasso is the Final Boss of Ted's life, right? like, she shows up on that bench and you should feel the opening of "MEGALOVANIA" in your soul because she's the villain of the story.

honestly, in Ted Lasso, the main villains are: Rupert Mannion, Twitter, Rupert Mannion again, cisnormativity/heteronormativity, and Dottie Lasso, kind of in that order IMO.

"Mom City" is kind of a genius episode with its thesis and punchline. Because Dottie shows up and derails Ted's entire life and not in a good way. She makes him palpably uncomfortable and all of his usual kindness and interest is just turned off around her.

This episode isn't shy about reminding the audience that Richmond has become Ted's home. From the most fish outta water who nearly gets killed looking the wrong way crossing the street, Ted knows his neighbors, knows the culture here, and is defensive with that knowledge because it's been hard-won over time.

No but really, look at how UNCOMFORTABLE Ted is EVERY MINUTE of this episode. It's so stark bc this charm offensive Dottie's doing on everyone at Richmond is so clearly a Lasso Thing. This is the exact tactic Ted used when he was new in town and completely at sea.

(fuck this got long, there's a lot more under the jump)

But he isn't charmed or permissive or entertained, he never once Yes, Ands what Dottie says. In fact, he corrects her all the time.

jesus fuck look at this specific moment!!!

who the fuck are you and where is ted

because Dottie being here is a nightmare. she's the person who knows the Ted Lasso Source Code and the way she maneuvers and nudges him, he seems helpless against it. So he continuously separates himself from her in what feels to me like a fearful reaction.

Like, when Dottie explains where she's staying, she does this trick

DOTTIE: An adorable little hostel. I've met so many Australians. They are backpacking through Europe. So much sex. TED: Mom. DOTTIE: Not me, the Australians. TED: No, no, I get it, okay. How about you stay here for the rest of your trip, all right? DOTTIE: Only if I'm not a hassle.

This is such a fucking move, you realize? She has been in London a fucking WEEK without telling him, then as soon as she tells him where she's staying, she, a midwestern mom to her open-minded but very romantically private son, invokes sex so he'll be uncomfortable with the situation and invite her to stay. This is a chess move they should call the Wichita Shuffle.

And Ted absolutely hates the way Dottie lies about him. The connection is pretty straightforward; Dottie deals with her trauma and pain by covering them up with pretty little lies and melting truths until they fit the shape she wants them to be in. Everything she says in this episode is bullshit.

(points up) THIS INCLUDED, BTW. This is the Ted that Dottie wants him to be, the guy who will fall on his sword at the first sign of someone else's discomfort.

But that isn't who Ted is anymore and Dottie saying this is vicious and cruel. It's disrespectful to Rebecca, to everyone at Richmond, and to the work Ted's done with Sharon.

which oooooooooh

hey, anyone else remember Ted's "I love meeting people's moms, it's like an instruction manual on why they're nuts" from S2? boy that's a brick joke

and this bit of dottie saying her anxiety re: ted's therapy out loud, that hissing sound is a fuse being lit in this moment

Ted calls her out directly. He knows how she operates because she raised him in her own image. As I noted in the other post, Leslie Higgins is not the only feminine junior at Richmond, so is Theodore Lasso, son of Dorothy Lasso.

THAT FUCKING DARK CHUCKLE, THE "YEAH OKAY" MOMENT this is the fuse finally reaching the dynamite

this is the moment, this moment of push-back, implicitly the first time Ted's ever pushed back in his life

this is the moment Dottie takes every single thing she knows about Ted, everything she put into him, and she destroys his fucking life with the exact four words it would take to make Ted give up everything he's worked for, all so he'll go back to being what she expects from him.

and hell if he doesn't know it.

everything he's done for himself, all the space he's finally allowed himself to fill, the progress and labor he's put into becoming a better person

mom shows up and tells him no, you're coming back.

(and the fact Dottie Lasso, a character who has not said five truthful things this entire episode, tells us how someone else feels should be questioned very fucking directly. i don't trust this woman to honestly report on Henry's opinion of peanut butter and jelly, let alone if he wants his father to give up his life and return to Kansas. i know every single fic has brought up the question of "hey why doesn't anyone ask Henry what he wants" but that's because SOMEONE needs to ask the question instead of taking Dorothy fucking Lasso's word for it, christ)

I don't know how tf you don't read this show as a tragedy. Dottie Lasso is incredible, she's so pitch-perfectly written and acted, and she's absolutely the final boss of the show. And Ted doesn't win that fight.

hell THE SHOW SAYS THE QUIET PART OUT LOUD, i would put the screencap here but I've run out of images, but THEY FUCK YOU UP, YOUR MUM AND DAD, THE SHOW SAYS IT this is a fantastic tragedy, i love it

[destinationtoast]

1/3 - Hi there! Three (I think) part ask incoming. You're the main person I know of who compiles tons of interesting fandom stats, so I wanted to ask you about it if you have the time to answer. :) I think a lot about how AO3 works great as a fan*fic* archive, but for other fanworks, like images, audio, video, etc., it's only as good as wherever the media is being hosted. With the way hosting sites come and go, or change their TOS to nuke nsfw or queer content, etc., it makes me wonder

how many broken image links litter AO3 at this point. I know it's not considered the primary place to find fanart, but a lot of folks do post images there—for events like Big Bangs, as standalone art, and even as decorative section breaks, etc. My question is: do you think there's a way to look at, say, works tagged with #fanart (of which there are 99,504 atm) and determine what percentage of those are broken links? From what little I understand, one would have to (perhaps with the use of a simple bot?) try to open any link bordered by the <img src> html, and see what portion of those return an error versus what ones actually load? I suppose it could even be something like looking at fanart posted in 2007, 2012, 2017, and 2022 to compare how many older links are broken versus newer links. Anyway, this may be completely unfeasible, but I figured I'd ask about your thoughts! Thanks!

Ooh, thanks for the great question! I took a while to answer because I wasn't initially sure what to recommend and ended up gathering some data to investigate. (If anyone else also has relevant data, please share in the notes!)

I liked your idea of looking at samples different years going back, and I decided to look through 100 AO3 works tagged "Fanart" (or a subtag) that were posted 10 years ago -- as a very fast starting point, I didn't even take a random sample of works, I instead looked at the first 100 multimedia fanworks posted in July 2014. (And August, when necessary; see more notes on methodology at the end.) Please keep in mind that this sample that may not be very representative of AO3 more broadly; to get better estimates, more sampling would be needed. Based on this initial data gathering (and the fact that most fanworks on AO3 were posted within the past 10 years), I would tentatively guess that that most fanart, fanvids, and podfic on AO3 still have accessible multimedia.

Given how many broken links and embeds there are on older webpages, I assumed that a ton of the links from 10 years ago would be broken. But I was pleasantly surprised by the results:

Wow -- 10 years on roughly 90% of the multimedia still works! I was honestly floored; I'd been originally planning to also look at 5 years ago to see how much better that was, but if ~90% are still working 10 years on, 5 years ago doesn't have room to be dramatically better. (However, I'd love to see more follow up sampling across different years to find out.)

There were a lot of AO3 users in this sample who posted multiple works -- some posted as many as a dozen multimedia works in July 2014. I didn't want the results to be overly skewed by any one fanwork creator, so I also redid the analysis with just one work from each unique creator:

Okay, cool, those results are pretty similar. I also did some further breakdowns on this smaller set of works to look at which hosts creators were using, and how many of the hosts were still working:

The most common fanart host used in this sample was Tumblr, then wixmp -- which I think from some very quick googling might be because Deviantart switched to using Wix for image hosting at some point? (i.e., I think most of those artists may have posted their art on Deviantart, then linked to/embedded the image on AO3, and the image's direct URL was was wixmp.) There were a few other hosts at the time that were used by 5+ different artists in the sample, and then there were a whole lot of hosts were used by just one or a few artists.

Most of the 10-year-old fanart is still up for all of these hosting categories! Photobucket is the least reliable of the most commonly used hosts. In the Other category, 25% of the links are broken, but that's still better than I expected (see full host list here).

This is getting long, so I'm moving the breakdowns for fanvids and podfic beneath the cut:

Fanvids were almost all hosted on YouTube, Vimeo, or both (the above categories are not mutually exclusive). All the Vimeo links still worked, whether they required a password to view or not. Most YouTube links were working, and the few missing ones had almost all been taken down by YouTube for copyright reasons (according to the errors I got -- I'm not rendering judgment about whether they were actually fair use), rather than by the vidder who posted it. And almost a third of vidders also linked to other hosts besides the big two, but many of those links were broken; 59% still worked. (see full host list here)

For podfic, mediafire was a popular solution 10 years ago, though many podficcers used it as a backup rather than the main link that they shared. A lot of podficcers made use of a fandom hosting site that specialized in podfic -- either parakaproductions.com or audiofic.jinjurly.com. Four podficcers used soundcloud (often as a backup). And once again there were a lot of less-frequently used hosts, often used as backup links; 69% of those still worked. (see full host list here)

Some methodology notes and further thoughts:

For fanvids and podfic (but mostly not from fanart), the fanwork creators tended to provide multiple links, and in those cases, I counted the multimedia as working if at least one of the links was still working.

I counted embedded media and links to other sites that host the media all the same way.

I counted the media as broken if I got a 404 when I tried to visit it, or if a site like YouTube had taken it down due to copyright issues, or if I got an Access Denied message for a site like Google Drive.

I counted the media as working if it required a password that was given on the page (common with Vimeo), or if an embed was broken but there were working links to other sites.

How representative is this data? Well, these samples contained most/all of the multimedia fanworks posted in July 2014; that month, there were 70 fanvids, 135 podfic, and 186 pieces of fanart posted that haven't been deleted since. So it's pretty representative of July 2014 specifically. :) But there could have been, say, a fanwork challenge going on in July 2014 that caused unusual uploading patterns then.

The above data gathering and analysis took me several hours over several days. If you want to follow up, you could do more data gathering similar to what I did (I'm happy to elaborate on my process as needed). Or you could write a bot to do something similar; you could have it fetch more AO3 fanworks and try following the links within each work. However, that would be slightly tricky; I ran across more kinds of errors and complicated situations than I expected (e.g., if a YouTube video has been taken down due to copyright, it still has a working YouTube page; sometimes an embed is broken, but if you open the link within the embed in a separate window, it still works fine; many Vimeo links require a password to test, and it could be hard for the bot to reliably find the password in the surrounding text). So you'd have to program your bot to be able to handle a bunch of different special cases.

Regardless of which path you are considering, if you or anyone else does any follow up work here, I encourage you to start by looking through a bunch of fanworks yourself and deciding which scenarios you want count as "working" vs. "not working," and any other things you want to pay attention to.

Hope that helps, and please feel free to DM me with follow up questions. And if you follow up, please share anything else you figure out in this space!

[raven-at-the-writing-desk]

I know that Yuu is gender neutral in the game for many reasons so it makes me wonder if Yuu was a girl in Conan would that change the dialogues and the way the characters interact with her?

Like not a major change to the main story or turning the game into otome but some small ones like in some characters interaction with Leona when stepping on his tail he won't want to beat us (because of the respect woman thing lol) in book one or Deuce being shy in the beginning of their friendship.

Hmm... For the most part, I honestly don't really think so? Cater still calls Yuu cute, Azul is still pretty polite, etc. Rook still waxes poetic and creepily recites your sizes, etc. regardless of gender. At best, maybe some of those traits would be exaggerated a little more or expanded on to suit the scenario?? Like maybe Ace would initially tease fem!Yuu about being at an all-boys school or something, isn't she bothered by it? But I really doubt that anyone would be tripping over themselves to protect or befriend fem!Yuu or anything, especially when most at NRC are primarily concerned with their own interests. Most of the characters aren't noted to treat women particularly differently than other genders. We also don't get to see the NRC students interacting with girls around their age either, so it's hard to discern how they'd be with them. I think even the "Deuce being shy in the beginning of the friendship" headcanon comes from a perspective colored by writings in fandom; Deuce in canon doesn't really seem to demonstrate major issues interacting with girls, at least not that I can recall. At best, he expresses surprise when Grim mistakes Epel for a girl and fails to romance the Ghost Bride (he freezes up and his mind blanks; it’s difficult to say this is how he’d act around most women or if he just acts this way due to the demands of the situation). I think if we eliminated romantic interest altogether--because, to be clear, one girl in a cast of mainly guys is NOT always meant to be romantic or a harem--most of the cast would be their usual selves, if not maybe a little more polite due to how they’ve been socialized to see women as the “fairer” sex. For example, Riddle, Epel, and Jade underestimate Sally, though this isn’t clear if it’s gender-based or because they sympathize with her poor home life. They may also be instances of the guys not really knowing how to deal with girls? For example, Trey fails to help Sally up after she has fallen (which Sebek chastises him for); Trey later admits that he doesn't know many women beyond his mother and sister who is 4 years younger than him. Because of this, he says it may be that he was subconsciously nervous to interact with her.

The exception to this, many would point out, is Leona, who comes from a country in which women are respected. The strange thing is, whenever this point is mentioned, I always see people speaking about it in relation to Leona and Leona only, even though Ruggie and Rook also come from the Sunset Savanna (so technically those latter two would also theoretically be respectful to women). Now, there's a lot of discussion in the fandom about just how far Leona's "feminism" (a term used by fandom, never said in official materials) stretches. The most extreme of takes paint Leona as a misandrist who actively hates on or mistreats men while upholding women as superiors. And that... Well, I don't agree with this interpretation whatsoever. Yes, Leona no doubt respects women and is more likely to listen to them if they ask him to do something (for example, attending a party for a female painting in Cater's School Uniform vignette or taking a picture of himself in his robes for his sister-in-law in his own Ceremonial Robes vignettes). However, he won't just keel over and do whatever is asked of him simply because it is coming from a woman (think back to Ghost Marriage; he was still pretty pissed off when Eliza slapped him), and nor is he shown to disparage his own gender.

Rather than putting women on a pedestal, I think it would be more accurate to say that Leona doesn't underestimate women or think lesser of them because of their gender. (If you're interested my detailed breakdown of "feminist" Leona, check out this analysis.) For example, while his classmates worry for Sally's wellbeing in Lost in the Book with Nightmare Before Christmas, Leona lauds Sally's cunning and ability to save herself. We also get a pretty good look of this in the Episode of Savanaclaw manga, which features a female Yuu. (And before anyone says, "Yuuka could be hiding the fact she's a girl!", take a look at these panels. She is clearly not making an effort to hide her chest and given her nonchalant personality + ability to physically defend herself, Yuuka has no in-universe reason to be hiding her gender. The other students probably don’t bring up that she’s a girl because she’s already been around at NRC for roughly a month at this point and have likely acclimated to her presence. Besides, people don’t normally bring up “well, that’s a girl” out of the blue in everyday conversations.)

Riddle seems to treat Yuuka the same as the gender-neutral Yuu in the game; he still adjusts her tie for her without any flourishes, flinching, etc.

If you read the Episode of Savanaclaw altogether, pretty much all of the characters treat Yuuka like another fellow student and not "oh, this is a woman and a woman has to be treated differently".

Leona stops Savanaclaw mobs from beating up Yuuka and co., but this isn't significant because he does the same for gender-neutral Yuu in the game. It's not "I stopped the guys from hurting a woman" behavior. And get this: Leona still challenges Yuuka and co. to a magift/spelldrive game and he STILL kicks their asses and expects them to get up for more. He doesn't give even Yuuka special treatment or leniency because she is a woman. He wants her to play him again, the same as the other students (who are all guys). It is Jack who has to intervene and stop his dorm leader from bullying Yuuka and co.—but again, this isn’t a change from the game, as Jack always steps in anyway.

Yuuka recognizes Leona as "the garden caretaker" from back when she accidentally stepped on his tail. Unfortunately, we don't get to see if Leona attempted to attack her from this instance. It could be that the manga excluded it because he didn't try or it could be that he did (if the magift/spelldrive demands were of any indication) and the manga just didn't have time to show it in full. Buuut we should also note that Leona makes exceptions to his own... "moral code" when it is convenient for him. For example, he tells his students to not pick on outsiders but then still wails on us through sport. When Yuu steps on his tail in the garden, he says, "Well, can't say it'd be much fun to hurt someone so helpless," but then adds, "Still gonna do it, though."

My point is, this is the closest we'll get to "how would the boys treat a fem!Yuu", and that's what I'll leave you with.

[grimeerie]

If Enigma of Fear comes this month,i am praying for this game to be absolulety marketed fucking EVERYWHERE online,cause not only Ordem is such a amazing project that deserves so much recognition,but being a fully brazilian/latino-made TTRPG,the idea of this series becoming worldwide-known means so much personally as a brazilian artist.

I've mentioned this on a post before,but the experience of growing up as a latine being constantly fed white american-centric pop culture,be it comics,TV series,movies,art in general,to such a extreme point it made me develop such high insecurity in my country's art and culture as a whole,is so deeply harmful that even after leaving that toxic mindset,that insecurity still lingers on.

And it's why Ordem as a project is just so beautiful as an rpg to me,like the campaign main setting? All brazilian cities! The characters? Brazilians from different parts of the country all speaking in the accent and slang of their state or city! The players? Brazilians! The promotional art,the music,the boards,the tokens? ALL BRAZILIAN MADE. Like this project in so unashamedly Brazil and that makes me love every bit of bit.

Even though the gringo side of the Ordem fandom may still be somewhat small,the ammount of love i've seen you all have for this project is so big; all of the fanart,fics,headcanons,every single form of appreciation has just been so good. Know that regardless of what you may think about the quality of your contribution to this fandom know that to me and so many other brazilian,your love for this series means a lot to us. The hype for Enigma of Fear has been wonderful to see,and DESERVED CAUSE THE GOD THE GAME LOOKS FANTASTICAL AND DUMATIVA PUT THEIR WHOLE DUMATUSSY FOR 4 YEARS INTO THAT GAME AND THEY DESERVE THE RESPECT FOR IT-

BUT ALSO i want to shoutout the QSMP fandom as well,cause y'all are insane fr,seeing people love the same CCs i've watched and loved since my childhood,the fandom interacting with us Brazilian ??? Learning about our culture???? LEARNING TO SPEAK PORTUGUESE???

Sorry for the ramble but like- the whole learning portuguese part still makes me so happily feral cause as someone who grew up on Internet fandom spaces,having to learn english on my own to be able to interact with others,especially english being the main language in most internet spaces,THE FACT THE INVERSE IS HAPPENING LIKE WHAT?? Serioulsly,the dedication man! That is awesome!!

Legitimately i don't think there's enough words to describe the appreciation i have for yall,so basically: thank you all,so much,for giving us so much love this past year,and i hope if Ordem does become big enough out there,that more brazilian art to come gains as much love as this one,we are such a diverse country with so much to offer,and im am so glad to be born to such a colorful and crazy country <3

In general i hope this will be an encouragment for all to support non-white american centric art in general,there's so much art from other countries to love and appreciate,that desperately need it.

So basically: Watch Ordem Paranormal,and play Enigma of Fear when it comes out. It's RPG,it's story,characters,worldbuilding are fantastic,its horror,found family,comedy and deliciously SOUL-CRUSHING angst. Trust me,you won't regret it.

É ORDO REALITAS CARALHO!

[cybernaght]

The fandom echo chamber: fanon, microanalysis and conspiracy brain 

As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.

This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.

Part one. Fanon.

The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe. 

Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”. 

(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror. Oh. Well. That would do it, wouldn’t it?)

Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours. 

And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.  

(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)

We are all kind of making our own reality here, aren’t we? 

Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals. 

Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.

(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)

The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.

Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation. 

So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.

I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth. 

Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space. 

Eventually, this chimaera becomes a reality. 

Part two. Microanalysis 

Here are my two suppositions on the matter:

1. Some writers really love breadcrumb storytelling. 

Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season. 

Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal. 

2. We, as humans, love breadcrumbs.

And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal. 

Too much metaphor?

Let’s unpack it and start from the beginning.

Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.

If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works. 

If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time. 

As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever. 

So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.

Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding. 

But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.

One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs. 

Part three. The Conspiracy Brain. 

If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.

So, why do we believe in conspiracy theories?

One, Because We Have Been Lied To. 

All conspiracies start with distrust.

If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another. 

We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership. 

And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.

(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)

Two, Cognitive Dissonance.

The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.

Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:

A) this is not good

B) this author could not have made a mistake 

C) this must be done on purpose

D) here is why 

(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)

This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another. 

Three, Intentionality 

I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.

However, this all changes when intentionality is ascribed. 

The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.

It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media. 

When television programs underdeliver, they also underperform, and then they get cancelled.

If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.

(There will likely never be a Secret Fourth Episode.)

And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic. 

But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking. 

Unfortunately, people make mistakes. We are all fallible that way. 

Four, Wildfire.

Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness. 

Conspiracy theories create alternate realities, very much like we all do here. 

So where are we now?

I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all. 

All I am saying is… listen.

Do you hear that echo? 

I do. 

[cindersnows]

the problem with mitsi (or as i like to call it. mitsogyny)

(context: this was written under a youtube video, which i'm sure most of us have at least seen pop up in our recommendeds, in response to many people taking criticism against the new episode. it has been edited a little to be more cohesive as a somewhat-essay)

ok, i wanted to write out a rant/essay/ramble/whatever sort of summarising the criticism against mitsi's plotline because a lot of the people here seem to be misunderstanding the fundamental issue that people have with it, including some of those people themselves.

first off, an analysis that i think tell both sides of the argument very well which i feel should be read before reading the essay: Mitsi: What Makes A Fridged Character (and why y'all are wrong about it) | an AvA essay by InksandPensblog. i will note: i don't care to discuss whether mitsi was fridged or not and that won't be of much importance in this post. the above link gives some insight into some of the fandom's criticism of mitsi and how she was "fridged", defining common tropes for examples. that's what's relevant to this post.

the main issue with mitsi, in my opinion, is less with the fact that mitsi's a girl and moreso the fact that she's one of the only female-coded character in the series, and that her character's main purpose was to further victim's own development. the other arguably female-coded character in the series is pink, who (like navy) only really exists to explain purple's motivations. i don't have much of an issue with that since they're not meant to be important or sympathised with at all. that's not their job in the story.

with mitsi, i've seen people point out that she has more character to her than just victim's love interest and supporter: she invents rocketcorp, she's smart, she's kind, innocent and helpful. narratively speaking, she shows other creations' relationships with their animators, parallels her innocence with victim's trauma, and introduces victim to the outernet (as most fans call the stick realm).

but most of this things imo are either stretches or invalid arguments. she's not really a 2/3-dimensional character in any way; her main character traits boil down to the fact that she likes to be in service of others with no nuance behind why she likes helping people. she hypes up victim for the villagers, she starts a company with him to share his talents with the world, and she helps him overcome his trauma from alan's torture. all of her main plot beats center around victim: and while technically the sticks are genderless and free to be interpreted however the viewer wants, alan and most of his team see all the main characters as male, and that subconciously affects how they're written. mitsi, the first major female-coded character, spends most of her storyline in service of victim, a character not written as female.

there's also the issue of her being victim's canonical love interest. i feel like this statement from alan is important to keep in mind (don't mind the sound effects and edits, this is the only isolated clip i can find at the moment). in particular:

"i just assume that [the ava/m characters] are just a bunch of bros]. i haven't thought of adding any female stick figures but i think it'd be good. i don't want to introduce any romance though, i don't want that to be a theme."

he seems to have changed his mind on that last part, which is fine, but the notable part for me is that he seems to associate female characters with romance from the getgo. before anyone misinterprets this, i'm not trying to call alan sexist or anything. but there's a common issue with women in stories being reduced to just a romantic partner for the male lead, and mitsi falls under this, with her entire character existing to serve victim. (not to mention people will make things about romance whether you like it or not. that's just basic fandom. search up grapeduo or chodark.) even her death is to put victim on the path of vengeance--- it doesn't need to happen to show the extent of tco and tdl's destruction, because that's already made pretty clear in ava s2 the flashback and the earlier scenes showing various characters escaping burning buildings. when you write a female-coded character whose only purpose is to serve a male character, you're contributing to sexist narratives.

a counter i see many people point out with the idea that she has no character is that she does have character traits, it's just that they're generic ones like "kind" and "innocent". the issue is that she has no flaws to counterpoint this; it's not that she didn't have enough screentime. in ava4 for example, we see tsc's flaws pretty clearly; they can be very mean when they want to, they're petty (albeit for a fair reason), they're a little impulsive. this is shown in 11 minutes (from the moment they come alive to the end of the video).

with mitsi meanwhile… she doesn't seem to have any flaws? she helps victim whenever she can. she's nice to all the villagers. her customers all like her and she's a great leader at rocket corp (to note, specifically as part of a pair with victim. they're a power couple, she's barely given credit for her work alone). she has 13 minutes of screentime, or 10 if you count from her waking up in the outernet. there's plenty of opportunities to show her having flaws; maybe she acts a little selfish during tdl and tco's attack, only wanting to help herself and agent smith, or maybe she overworks herself, or feels awkward at having too much attention (and that could also be why she redirects so much attention to victim, she's shy). you could argue that the episode needs to develop victim and agent smith too, but ava4 shows that's easy to do too: just a few seconds dedicated to showing rgyb fighting over who leaves first shows that they can be selfish and childish. it's very easy to insert a moment like that for mitsi.

it's a little disappointing when the first major female-coded character in ava is completely flawless, with no personality outside of being nice and helpful for others.

also, slightly unrelated, check out this quote from mitsi's plushie website: "her white featureless face seems to ooze mystery and feminine power all at the same time." her main character trait, as a woman, is being feminine. it's irritating as someone who's been raised a woman to see her reduced to just her gender. she feels more plastic than a person, like the concept of what a woman should be (perfect, kind, useful) and not an actual character/person.

i would expect more from the writing in the series seeing as it's not just an independent passion project anymore, and has multiple writers that all could've worked to flesh out mitsi, or at least get a sensitivity reader of sorts to point these issues out. it's extremely disappointing and i can understand why people were upset.

tldr: the problem isn't just that mitsi's a girl, or that she's nice or dating victim, it's that she's written in a misogynistic way.

[maglors-grief]

I really need some people in this fandom to understand that Rhaenyra could have been the most perfect woman to ever exist and the Greens still would have usurped the throne anyways. Rhaenyra being a "whore", Rhaenyra having bastards, Rhaenyra being so-called "incompetent" were all excuses. If they really cared about any of that, why would they be trying to replace her with a man who sleeps around, has many bastards, and is definitely more incompetent than Rhaenyra ever was?

Like guys the Greens were pushing Aegon as heir before Rhaenyra even had children, before she was even married. It is stated in the book that Alicent and Rhaenyra got along fine until Aegon was born and Alicent immediately turned against her when Viserys didn't name their son his heir. They were already challenging her claim when she was just 10 years old.

Even if we're going by the show's canon, Otto Hightower was plotting to get a half Hightower/Targaryen on the throne before Rhaenyra was even named as heir.

The reasoning for why the Greens did what they did is really quite simple and realistic - they were greedy as hell. Some of their allies of course truly believed a son should come before a daughter but the main motive for the Hightowers was that they wanted someone of their blood to be placed on the throne.

They wanted their blood to be entwined with the most important family in Westeros. They wanted to create a new branch of Targaryens that were half Hightower. It wouldn't have mattered if Rhaenyra was flawed or if she was perfect, they still would have usurped the throne because she was in the way of their plan that was pretty much decades in the making and they would have used any excuse to justify their actions.

I'm just tired of the posts that say "well if Rhaenyra just took her position more serious and if she didn't do this or that then she would have been fine" like no she wouldn't have. You're completely missing the point if you believe this.

[thecheshirerat]

On TAZ-

Wow that sounds like I’m about to summarize some sort of discourse but I promise I’m not. I guess I’ll say that I really like this show and I will keep listening even if my worst fears come to pass, so keep that in mind!

For reference, I started listening near the end of Amnesty.

I’ve noticed, with the past few arcs- really since Ethersea- the narratives have just… not been fulfilling their promises, so to speak. They’ve been placing a lot of guns that don’t go off. What I mean by that is, the characters are great. Excellent, really. Lady Godwin? HELL YES. Emerich Dreadway? Fuck yeah! And so on! And the settings and premises have been epic- the goofiness and also horrifying nature of Engrave, the mad and thrilling world of Steeplechase- these things are COOL AS FUCK.

and then the actual narratives keep flopping?

And honestly, I notice it most in the endings, because you can really tell when an ending doesn’t land. You feel the sense of disappointment. But with vs. Dracula, for example, I could kinda see leading up to it that the ending couldn’t really BE anything special, because they lowkey didn’t set themselves up for it.

They spent the campaign fucking around in Engrave, finding clues and solving problems and not really experiencing any particularly meaningful character arcs or growth or, idk, forming relationships? So there wasn’t much to pay off, I’m not gonna lie!

Of course it doesn’t feel quite as dissatisfying when you’re in the thick of it, because they’re funny and the stuff is cool and- oh hey! Lady Godwin’s been turned into a werehorse against her will?? that’s got some real potential for a LOT of allegories and exploration of some fun character development! And then it’s kinda played as a joke. And then they do that again and again.

And they actually said that that was a move they made intentionally, in the TTAZZ. I’m not quoting them perfectly here, this is from memory, but I do remember them mentioning that they wanted lighthearted comedy without the burden of real life story stuff. And I get that, honestly, but… it’s not the choice I would’ve made. I do think you can keep a lighthearted tone while also, idk, forming relationships and wholesomely engaging with some amount of emotion. And sometimes going way too deep is funny as a tone shift!

But I digress. One thing that’s also popped out to me is the almost complete lack of any kind of romantic storyline or even references. This becomes obvious if you’re in a fandom because everyone is always dying to ship SOMEONE, and you can tell when people are really getting desperate. I don’t blame them for not wanting to roleplay romance with their family, and I do think stories lacking romance are COOL and SHOULD BE ENCOURAGED!

However if you can’t find ANYBODY to ship together… that may mean you just don’t have character bonds. The growing popularity of the PC polycule is interesting to me; I wonder if it’s partially because

a) none of the pcs have significant relationships outside of their party and

b) even within the party, there doesn’t seem to be much chemistry between any given pair of characters…? I hope I’m making my point well here- the PCs all seem equally close and have more or less the same relationship to all of their compatriots with little distinction, meaning, essentially, no shipping fodder that doesn’t involve just all of ‘em.

Either way, it makes me wonder if I can blame the “Graduation has too many NPCs!” critique. They really stopped giving the parties tag-along main NPCs after graduation, with the exception of maybe.. Urchin? Kodira? Shlabethany? Poppy? and even they get relatively little “screen” time. Steeplechase has great NPCs, I love them to death, but none of the PCs seem to ever have one on one conversations with NPCs or each other that do not explicitly focus on the plot. And I think that’s part of why the characters feel so underdeveloped despite having spent a lot of time with them- because in this character-driven genre, we get very little insight into their feelings or motivations or even their rudimentary backstories.

I started watching Fantasy High recently and it made me realize a couple things about TAZ.

1) Recently, TAZ has sooo few core NPCs, and it’s weird that the characters aren’t doing more one-on-one purely character based scenes. And that makes it really tough to develop them.

2) TAZ is- and I should have realized this before- one of many good dnd podcasts. They’re probably looking for a niche they can master.

And it sounds like they’re trying to get back to that old “Here there be Gerblins!” energy. They’ve referenced it so many times in recent TTAZZes- they wanted to be job-focused, allowing story stuff to happen organically, so they tried a more open world vibe with Ethersea. They wanted to be less afraid to kill stuff, so they tried playing criminals (and were still afraid to kill stuff). They wanted to be silly and light on character, as they tackled with taz vs dracula. Now they’re trying to bring in the silly cartoon vibe with Abnimals. I think they’re trying to make that family-friendly, funny and goofy show their niche. Something other actual plays can’t be better at them at.

And honestly it kinda makes me sad, that they keep trying to go back to Balance while ignoring everything they learned during it. Because I loved Dust. Because I loved Amnesty. Because I loved Ethersea. I loved these past arcs! But they keep doing their brilliant characters dirty for some reason!!! And i don’t know why!!!!

You know that meme about people who ask questions in movies and then the person responds “Have you ever been to a movie before? You watch them and the information is revealed.” There have been so many times in TAZ recently where information has Not been revealed and if they keep doing it the audience will stop bothering to suspend their disbelief, because the trust just isn’t there.

What is Montrose’s deal? What on earth was Carmine Denton’s whole thing? Tell me more about Zoox’s feelings, about Devo’s past, about Amber’s future. Show me how Lady Godwin feels about the body horror that is her life- like, seriously! WHY DID WE HAVE TO COMPLETELY DISMISS THE OPPORTUNITY TO DISCUSS GENERATIONAL TRAUMA IN MUTT’S LIFE FOR A JOKE??

Do you remember in Steeplechase where the boys were getting medical attention or something- i don’t remember, but they were all in one room and only talking about The Plot. And Poppy literally banged on the door (speaking for both Justin and me, tbh) and was like “does anyone want to share any feeeeelings??” and they were like NOPE! and they moved on!!

like. cmon. you can’t just put a character like montrose out there and then leave them severely underdeveloped to the point that what would be interesting in proper context, with audience insight, becomes confusing and chaotic.

I just wish they would take their stories as seriously as we do.

It feels to me like they don’t believe in themselves, and it makes me sad. Maybe they didn’t get the response they wanted from Ethersea and so they’ve been trying to pivot, hoping to recapture whatever it was that earned them a loyal audience.

Again, I love them. They’re so funny and I’ll keep listening until the day they stop making this show, and when it happens I’ll cry.

But i KNOW they have more in them. Remember the “we’ll grow gills” monologue from Justin in the Prologues? Remember Travis’s SOLID acting with Devo? Or his awesome choice to give Lyndon/Beef a clearly delineated work/irl identity? His excellent narration and prose? Remember when Montrose described being lonely?! Remember all those moments where Shit Got Real and you cared??? The nanofather said some dope shit! dracula and victor and sweater dracula had such a wild dynamic! Clint’s acting in Dust 2- I can’t remember the characters name right now- was ASTOUNDING, I genuinely didn’t know he had that in him and it blew me away!

I’m not referencing Balance on purpose, both because the fandom is way to hung up on it and because I want to prove that you don’t even have to look at Balance, or even Post-Balance arcs, to see this kind of good cool stuff!

GAAAAAAAGHHHH!!! I want them to have fun. But also. We’re starving out here.

[narutouzumakiarchive]

How to deal with the homophobic and horrible ss, nh, sh etc. stans? Just reading their content makes me feel gaslighted and makes me want to quit my little sns blog, because I feel isolated.

First of all, I'm sorry you feel that way. The best thing to do is honestly to just ignore them. The canon ships, in particular, are horrid and are consequently routinely subjected to lots of criticism by people outside of the carefully constructed echo chambers of canon shippers. SS/NH fans cope with this by harassing SNS shippers who have been a particular source of insecurity for the entire run of the show. There's a reason why they routinely steal from the sns dynamic to prop up their ship and have to rely on fillers and novels and databooks, etc. instead of working with the manga.

This brings me to my next point. Part of the reason they are so emboldened is because the "victors" are the ones who write the story, and they've used this to control the narrative and recontextualize what actually happened during the original run of the story. So, something you should know is that SNS fans have always been right about the core of the manga.

While there were obviously endgame SS/NH believers, the idea that Sasuke/Sakura and Naruto/Hinata were mutually in love was not a unifying factor in those fandoms.

In the Naruto Collector Book 3, there was an interview in which Kishimoto himself acknowledged the fact that Sakura and Hinata's feelings of love were unrequited. This interview is practically lost media, and is conveniently never discussed but the book is still available. The collector series has other interviews with Kishimoto as well.

But the main point is that this interview was released in 2007, long after we were already into Part 2 of the manga. This firstly debunks the idea that there was a secret budding love story that was sabotaged by SP, though you don't need any interview to tell you that Sasuke literally only thinking of Team 7 during Sakura's love confession, or Naruto not reflecting on any special moments with Hinata was proof enough of the lack of romance. More importantly, however, this is connected to my point about belief in "true love all along" was not a unifying factor in the SS/NH fandoms. Many of them were aware of this interview (see the respective examples of a SS fan and a NH fan reacting to it below) and thus spent their time taking solace in databooks and writing longwinded posts about how mutual romantic development weren't required for endgame.

What DID unite solo/multshipping SS in particular was the belief that Sasuke considered Sakura special, and thus, she would be the one who helped heal his heart. And this belief is where the real "war" between SS/SNS lied. If you look at old SNS posts, you'll see that there was never a unifying belief that SNS would be canon either, for obvious reasons. You'll notice that many posts were prefaced with some variation of "regardless of the nature of their bond...." because it wasn't so much what they were to each other rather than how significant they were to each other. You'll see a lot of posts about them transcending traditional relationship categories.

So this was the primary context in which SS and SNS fans argued. You can see below just some of the drivel that SS came up with. They have always been relentlessly insecure harassers who used to attack SNS fans for simply seeing the direction in which the manga would go.

They ignored Naruto making Sasuke's heart beat repeatedly, they ignored Naruto being tied to Sasuke's sharingan transformation — which later in the manga was explicitly called out for being the reflection of the heart that SNS fans postulated it was. They ignored the fact that Sakura was rendered fungible [a fact you can see reflected in the interview below when Kishimoto discusses what makes Team 7 special and completely evades mention of Sakura] and that Kishi usurped moments that could have been special for Sasuke and Sakura by including Naruto (eg. Sasuke bringing up not wanting Naruto to worry in the FOD, Sasuke thinking about Naruto to keep the curse mark at bay as well despite the fact that Sakura was the one who was explicitly worried about him, Sasuke including Naruto and talking about precious nakama in the fight against Gaara despite the fact that Sakura was the only one in mortal danger, etc.). They ignored the fact that Sasuke quite literally hierarchially ranked Naruto as a more intimate friend than Sakura. Harassed SNS fans for pointing out the basic setup in the manga that served to reinforce SNS fans' interpretations because they constructed a version of the manga that was wholly centered on the special and unique "bond" between Sakura/Sasuke.

All this lasted to the war arc. They twisted themselves in pretzels to argue about how Sasuke leaving Sakura to burn in lava and outright stating that her and Kakashi's lives didn't matter was him repressing his super secret feelings of care for her while attempting to downplay the mutual affection displayed in the SNS bond. Even the more "neutral" pro team 7 SS fans looked for ways to subtly denigrate SNS' bond. Sasuke makes no mentions of Sakura when the 10 tails is about to blow up the shinobi alliance? Who cares because at least Sakura's face doesn't have a cut across it (yes, they really did misinterpret pro SNS moments where Sasuke individuated Naruto as negative). And they did all this while making anti Sasunaru clubs and hiding in forums to complain about how SNS was getting too much focus in the manga (something older fans can attest to) because deep down many of them saw the writing on the wall.

Now SNS fans, on the other hand, displayed the critical reading skills that the SS fandom lacked — and I don't mean that facetiously. They picked up on the fact that it was significant that Sasuke lost control of himself when Naruto showed up. They understood the significance of Sasuke specifically asking about the status of the 9 tails given the prior context of Sasuke specifically needing to kill Naruto because he wanted to become stronger. They recognized that Naruto was specifically singled out with a cut precisely because he was special by picking up on the patterns peppered throughout the text. They also respected the Team 7 bonds established in Part 1 — they had no need to undermine it because there was a confidence in Naruto/Sasuke's relationship being special — while understanding the disadvantage in the fact that Sasuke and Sakura dynamic always included a "we" (see example from a 2008 analysis below). They knew there would be a reconciliation in which the tension between duty and desire would be resolved and would lead to Sasuke accepting his heart/inner child which would lead him to Naruto.

And lo and behold, 698 came and SNS fans were validated while SS fans were livid and angry. They complained and harassed SNS blogs and threw tantrums and cried about the manga being retconned. It's so easy for them to pretend they knew everything in hindsight, but the receipts don't lie. There has never been anyone more in denial about the core facts of the manga than SS/NH fans. Don't let them prevent you from supporting SNS. The SNS bond was validated.

Even to this day, they have never gotten over the fact that Sasuke confirmed their worst nightmares which is why they have to cope by literally cropping Naruto out of panels (Look at the 97 likes — and this is tame for them), spreading poor translations, and taking glee in the idea of Kishimoto not being the arbiter of canonicity, so they can take refuge in material not written by him, because they hate what he did write.

As I type this, they are getting made fun of in different languages and SS fans are coping by pretending that anyone who points out the dysfunction of their implied no kiss couple has has no literacy and is ignoring 700 chapters of development, the development in question being Sakura still acting infantile while Sasuke remains indifferent.

Why should you feel isolated because you want to support the main bond when SS fans even have to lie about the poorly written filler novels that were expressly created FOR them (eg. Sakura forcefully kissing Sasuke and then Sasuke immediately grabbing Naruto and leaving Sakura to fall off the motorcycle they were all riding on; A scene SS fans repeatedly lied about and repeatedly misrepresented).

Unfortunately I've nearly run out of images and I didn't even get to finish highlighting all of the lies of SS or discuss NH fans the way I wanted too but please, don't worry about the hate and the homophobia. A significant part of it is them lashing out because of insecurity.

Then and now, nothing has changed.

They hated the fact that Kishimoto wasn't concerned with Hinata's unrequited feelings and patiently waited for Sasuke to fade into oblivion so Naruto and Hinata could ride off into the sunset. When that didn't come, and Naruto prioritized Sasuke even after Hinata's confession, they took to harassing SNS fans. All they have is a retcon movie that Kishimoto wasn't even devoted to, which is why, in addition to lionizing scenes from the film, they even have to read panels incorrectly to achieve some satisfaction.

SNS is amazing and enough to keep me occupied, but another way of dealing with the hatred and homophobia (which is the main point of this post) is remembering why it's so rampant in the first place. The reason you feel gaslighted is because they are literally trying to rewrite history (these people have even lied about how much their novel sold and had to be corrected by a sale tracking account).

I haven't even scratched the surface, but you can see a few more examples here, here, here, and here. Giving in to their bullying is how the liars win. Don't let them!

[sarahreesbrennan]

I remember reading in one of your blog entries (years ago??) that in the new book you were writing, the main character's *sister* had cancer. Does that mean that Alice was originally the main character of Long Live Evil? Was she going to go into the book to save Rae, instead of Rae going in to save herself?

How extremely kind of you to remember!

No, that was actually a YA murder mystery that I wrote while ill, revised while recovering, and sent out into the world where it died on submission. (Which means we sent it out to about 12 editors and the editor either said no, or said yes and took it to acquisitions - a group of people at the publisher including sales and marketing - and acquisitions said no.)

One editor told me she really wanted and really tried to buy it. Another person who worked in publishing (and has since changed jobs, or I wouldn’t share this) said the response at her acquisitions was - if you like this writer, find the next her (implications about health and youth were made).

I was terrified my agent was going to ditch me too, but she said ‘We’ll sell that one day, for now let’s write the next thing.’

I remember another writer telling me she missed my work that wasn’t a tie-in, and I felt ashamed to tell her it wasn’t that I wasn’t writing other things - it was that I couldn’t publish them.

The tie-ins meanwhile were paying the bills (they still are tbh!) and I was and remain so grateful for them. But I also really loved writing them - especially my Sabrina tie-ins, you don’t forget the first, and it reminded me I want to write horror and poly one day - and how they got me to love and sympathise with so many fandoms.

I see the burnout of caregivers all around me, and I wanted to write the story of one. But maybe I also wanted to take a step back from cancer. I didn’t think I did, at the time. I had a whole lot of things I tried writing before Long Live Evil, and I think some of them were really good. One of my critique partners gave me a lipstick with the same name as someone in the murder mystery. There was a romance novel another critique partner said was her favourite thing I’d ever written. But none had someone with cancer at the heart of the story.

And even though Rae isn’t much like me, maybe I had to start there. You can’t make real magic using someone else’s liver. Maybe I had to wait to be brave enough to use my own liver.

I do get requests for advice on how to cope with rejection of your writing, and I always worried I didn’t have anything else to say, but I suppose my example says - if you can, (and I know it’s hard, you feel so terrible at writing and so useless) (and you love the work you’ve done so much and you don’t see a way forward to loving the next thing) (but still, if you possibly can) write the next thing.

Even if the first thing sells, you’ll want the next thing one day. Writing the next thing is more writing practise, so it’ll make you better. Write the next thing.

Ultimately I’m really glad Long Live Evil was my comeback book. I think it needed to be. It took the time it took.

But maybe it was a shade of that past book (where the heroine’s sister with cancer was six, so not much like any of the Time of Iron characters) that made me think of the YA version of this book, which I always had in my mind as something I was intentionally hewing away from - a more straightforward book, a book that might have sold better - in which shy reader Alice was the hero. She’s the one with the suggestive hero name - Alice through the looking glass - the heroine looks, and the more projectable-upon personality. She’d get called annoying less often (though still some, because she’s a girl), partly because she is (with love, Rae knows I’m right) a genuinely less annoying person. Much kinder, much sweeter, and much better at in-depth reading! Her sister being in trouble would’ve been a backstory, a catalyst point, and - you’re totally right - a great motivation for her to get the Flower. Saving a family member is a much more sympathetic and heroic motivation than saving yourself and one I do love (the Hunger Games, Labyrinth, Mahy’s the Changeover, and I write it a lot!). I think Snarky While Tragically Dying Rae would’ve been a pretty popular side character, too. I think it would’ve been a good book! Just not mine.

I love your question because I love thinking about POV, and all the decisions that are the building blocks of a story. To me, the Alice centric Time of Iron is a version that exists. As are several versions of the Lia centric Time of Iron. And versions centring other characters exist to me, too. (Eric, absolutely.)

Speaking of POV musing, I think Rahela the wicked stepsister featured more in the musical than the book. If the Time of Iron series ever became a TV show (and at this point in time I think I’d rather a movie because it wouldn’t… get cancelled…) and I got to write it (don’t know why I would…) I would start with the beginnings for three characters about to go on a journey to somewhere strange to them: Key in the Cauldron, Rae in the hospital, and Vasilisa in the icelands. There are so many possibilities! And I really wanted the sense that there were so many possibilities, too.

But I wanted the chronically ill one to be the centre of the story, and for it to be her villain origin story, and to ask a lot of questions (hence a lot of villains!) about who gets villainised and why. And I thought hers, to my mind, would be the most fun of all the possible stories.

So that’s the one I made. But Long Live Evil has a lot of origins. Thank you for remembering one of them! I don’t think I would’ve dared tell the story, if things hadn’t worked out for me (so far, fingers crossed).

And I also tell it to be clear my publisher was taking a RISK with me and Long Live Evil, and I really appreciate that, and I’m so happy it’s worked out for them (again so far, early days, fingers crossed, etc).

I hope some writers - whether in the process of submission, rejection or making the choices that are the building blocks of story - find this helpful, and some readers find it interesting.

Let this be one of the universes in which your story is told.