#but what frustrates me with this particular character is that a lot of the motivations and choices are frequently grossly misrepresented

[zareleonis]

it sucks loving a character who is widely hated but also mostly probably definitely deserves the hate 😔

[stealingyourbones]

I’m fine with posts about my Blorbo getting ignored. It happens. We all know that. It’s disappointing, but you get inspired, start plotting, maybe even start writing yourself, lose motivation, and stop. It’s normal. It happens to all of us. Not a big deal.

But. BUT. BUUUUT. What drives me fucking insane is when some beautiful creative once-in-a-lifetime hand crafted prompt gets derailed into the generic stereotypical tropes that this crossover fandom constantly falls back on. I know that happens to you a lot, how do you deal with it?

In truth, when you sign up for creating content that you allow anyone to interact with, it’s just a part of the gig. It happens a lot, I may not enjoy it but others do and a community of people writing and having fun is what I strive to create.

My main ways to divert posts are either:

1.) Leave it be and let folks do their thing. The point of prompts is to let anyone add their thoughts, it doesn’t matter your personal feelings on a trope or headcanon.

2.) Simply stop interacting with that reply chain. I used to reblog absolutely every reply I got but now I only reblog the ones I enjoy. It has helped my mental health greatly. Additionally, if you don’t reblog responses to your posts, go and do that. It makes people more likely to see the responses you like if they already follow your blog for your writing and you’ll have a higher likelihood of that prompt gaining more replies.

3.) Put in the tags (#not ____ AU/trope/headcanon). I’ve done it a few times before with Ghost King AU’s I believe, mainly because I think that avoiding that trope for that particular post would make people flex their creativity more and write something they wouldn’t even have thought of if not given that limitation. This will sometimes work. Some folks reblog the post without the tag and the trope is posted anyways. People also might see the tag and think you’re being picky and rude and avoid the post entirely.

4.) Complain. I don’t really recommend doing this because people will Not Be Pleased but I am 100% guilty of doing this more than once. I have been pretty vocal on making my opinions clear on: Danny and Bruce’s relationship could also be something other than paternal, the automatic adoptions tropes, Ghost King AU’s, OP Danny, and not consuming some form of DC media is nigh impossible and actively avoiding it prevents you from learning about new characters and giving you new interests and ideas to spread and influence the fandom. This is the second least effective action to do. The first being saying nothing. Venting might be a good way to express frustration but let’s be honest, no one wants to listen to or read someone complaining for a few hundred words when they could be consuming a positive take on something they enjoy. For example: this post might get like 50 notes maybe max. It’s not a topic people like to read of and it’s critical on the things they like so they probably won’t interact with it.

5.) Add back onto your own post or another persons post with the idea of how you thought the post should have gone! If you don’t like the angle other folks are going at it, write your own thoughts on the prompt. A few solid paragraphs of ~500 words are what I have seen work the best in influencing and changing the direction of replies to a post. This is the best course of action to have people write another direction in tropes you enjoy and ideas you view are fresh and new. It might not be people’s favorite response to hear, but if you want a story to go a particular way, you have to write it yourself and hope the audience receives it well and picks up what you’re putting down.

6.) Write something similar again and hope a different audience receives the post and interprets it differently. Add a different spin on the concept and maybe add the (no ____) tag if you really really want something different.

I hope these tips help! Main takeaways if you don’t want to read everything: Complaining solves nothing and action solves everything. If you don’t like the way a post is going, write it to the way you want it to be.

[humanpurposes]

There isn't any point to this, I'm just ranting.

Lately, posting fanfiction feels like screaming into the void.

This isn't to say I'm not grateful for those who do interact with my posts. Since I've started posting fanfiction I've gone through phases of having a lot of motivation, having little motivation. Phases of comparing how many notes I get compared to someone else, then reminding myself why I started writing fics in the first place, because I can do exactly what I want with something I write. And I so appreciate all the comments, likes, kudos and reblogs I get on my fics.

There can be a whole load of different reasons why engagement in fandom lately has been not great. Season 2 being a mess, toxicity and petty drama within the fandom, dwindling attention spans, general disinterest in HotD and ASOIAF. I get it. I haven't felt particularity inspired by the latest season, I'm not very 'Tumblr sociable' and tend to stick to a few mutuals, I also haven't been interested in reading as much fanfiction for a few months.

And if someone doesn't want to interact with me or my content, for whatever reason, that's their business and it's completely valid. I don't write to hit a certain number of notes or followers. I write because I enjoy it. I started posting because I thought there might be a few people out there on the internet who might like what I was doing. In a way I have found that, and I know I wouldn't have stuck with writing this long if I hadn't started posting. But I won't lie and say it isn't disheartening when you get nothing or very little back after putting a lot of time and thought into a chapter.

And on top of that, some comments are just... the worst. What goes through someone's head that they feel the need to read a fic they don't like, comment all the reasons why they didn't like it, AND insult a writer who has posted this FOR FREE. We're all doing this as a hobby. The fact that fanfiction is public is not an open invitation to criticise, all you're doing is discouraging people from sharing their works or writing altogether, which damages our community. Fanfiction is not content simply there for you to consume. It's a pure form of creativity (in my opinion), because it doesn't come from necessity or obligation. If you don't like what you're reading, stop reading it. Find something else, or go write a hateful review of an actual book on Goodreads because at least that author got paid.

Or even just people being so stubborn about their dislike of certain characters. I can't tell you how sick I am of people taking the existence of Alys Rivers so personally in fics. Or wishing death upon characters that are clearly central to the plot or main relationship in a fic (why are you reading an Aemond fic if you hate Aemond)??? This fandom can only operate in extremes, apparently. There's no room for nuance or emotional complexity and it's frustrating when someone projects that on a fic.

I don't really have a point to this. Read what you want. Read the tags first. Reblog posts to keep them alive. Ask writers about their fics and OCs. Be nice to people.

[hopey-thinks]

Loyal to the nightmare of my choice- An analysis of Riven from Winx Club

I’m at a point in my life (not long before I turn 18) where it’s natural that I’d start yearning to revisit my childhood and look back on the things that made me happy as a kid. And recently, my feed has been showing me memes I forgot about from Winx Club, a show I was captivated by when I was younger, and it got me thinking. What better way is there to honor my childhood than rewatching some of the media I loved when I was a kid that I forgot about? While I initially started doing it for fun, to my surprise I started to realize about 7 episodes into the first season that there was a good amount of substance in it despite it being targeted towards a younger audience, particularly in the way that some of the characters’ backgrounds and fears motivate their behaviors. The following episodes only proved that further, and one character stood out to me in particular throughout the run time, that being Riven. 

In today’s analysis we’ll be focusing on how insecurity, sense of self, and standards around masculinity combine into his character and motivate his actions throughout the first half of season one. I’ll also discuss how Musa and Darcy impact his development and the subtext that may indicate that he’s queer coded (in the sense that this part of his arc is representative of the experience of a lot of young queer men). I’ll note that I’ll be referring to Sky and Brandon as the Prince and the Blond guy so there isn’t confusion about who I’m referring to since their names apparently switch later on for some reason. 

Already by the end of the fourth episode, Riven has a decent amount of characterization. He’s abrasive, sharp-tongued, and cocky, often instigating turmoil and arguments between the specialists (particularly the blond guy) with his snarky comments and arrogance. Right off the bat we see he’s competitive and prefers to handle situations on his own, having a difficult time acknowledging his faults and blaming others for his failure when they try to work with him. 

His apparent ego coupled with his stubborn independence and frustration with the idea of relying on others shows that his need to prove his strength is likely masking something deeper, that being an intense discomfort with vulnerability. Yet when the other specialists say they’ll kick him off the team if he refuses to cooperate with the Winx in the fourth episode, he chooses to stay with them anyways despite his pride, revealing that he does indeed desire human connection and isn’t as confident in his own abilities as he lets on.

What’s interesting is how his aggression, which is typically associated with masculinity, is contrasted with how he actually chooses to express himself (mainly through fashion, occasional dialogue, and mannerisms) in ways that would be considered feminine at the time the show was released. Wearing a crop top and saying things like “sweetie” to your bro are just some examples of things he does that were stereotypically feminine in 2004. This juxtaposition of his different attributes calls into question how his need to prove himself and inability to be vulnerable may not just be related to insecurity with his abilities, but also with his identity as a man.

 Because he’s unsure of how he fits into male gender roles, he overcompensates and tries to bury his lack of confidence in himself by attempting to be hypermasculine in other aspects. And of course, the consequence of this response is how it’s damaging to his relationships. In trying to mask his insecurity, he isn’t being true to himself and therefore struggles to have deeper, genuine connections.

His characterization is reinforced in multiple ways during the 7th episode, the episode that sort of lays the groundwork for the major conflict he encounters in the next two episodes and their unfortunate resolution by the 10th. He charges in alone to fight the Minotaur thingy and insults the blond guy when he says they should work together, again offended by the idea that he isn’t strong enough to defeat it alone. He speaks lowly of the women he’s at the party with and sets himself above them, dismissing Musa as “better than some of the others” there (if you think that might imply misogyny I want you to hold that thought). But most importantly, when he’s found by Darcy and the others she states that he has extremely strong negative energy. His perspective on masculinity is immature and unhealthy (I predict that it’s primarily been shaped by trauma from past experiences) for not just the people he’s surrounded by (which we’ll get deeper into shortly), but also his own psyche and self worth. As is the case for many teenage boys, it’s not surprising that this attitude is emotionally taxing and even physically exhausting for him to maintain.

This leads up to what I think is one of the most interesting scenes in the show yet as far as gender criticism goes. Riven, the blond guy, the prince, Stella and Bloom are all in the city for the magix equivalent of Mother’s Day. After Riven reveals that he and the other two are going to be participating in a race being held for the holiday, the prince teases him for not having anyone to cheer for him, insinuating that he can’t find a girl that’s into him. 

And he immediately becomes defensive at this comment, feeling his masculinity has been attacked/questioned since social structures put pressure on men to attract women as accessories to and proof of their masculinity. Because of this, he tries to affirm his manliness to himself and his friends through performative masculinity. He claims he can have any woman he wants and tries to make a bet with his friends where if he wins the race, he can pick any of the winx to go out with at the ball. And he picks Bloom. 

      This in and of itself is a VERY problematic assumption on so many levels. It not only is completely disrespectful to the blond guy who very obviously has feelings for Bloom, but it’s even more disrespectful to Bloom and the other winx who he’s treating as possessions, not even considering if they’re not into him. (Remember how I brought up misogyny earlier?) 

Thankfully, Bloom doesn’t take any shit from him. She calls him out on his deplorable behavior and reminds him that it’s her choice to decide who she wants to go out with, stating that regardless of the outcome of the race she doesn’t want anything to do with him. But he completely ignores this sentiment and takes the disrespect a step further by grabbing her chin and getting in her personal space, insisting that she’s just hiding her feelings for him. 

This violation is inherently degrading not just because she didn’t consent, but also because in doing so he shows he took none of what she said seriously. He acts as if his ego gives him the authority to decide what’s good for her regardless of how she feels about it, demonstrating a patronizing form of misogyny. Bloom rightfully decides that she’s had enough with his bullshit and slaps his hand away from her. She teaches him a lesson by using a spell to pour water over his head and tells him he needs to treat others with more respect. 

Now, the thing that the series does wrong with this is how it portrays Bloom as having “gone too far” once Riven is rightly embarrassed by the turn of events and ashamed of his behavior. She feels the need to apologize when she wasn’t in the wrong whatsoever, which is admittedly a very bad lesson to teach young girls. At least Stella interjects and comments that he had it coming, but the fact the show treats Bloom like she needs to make up for embarrassing him when he absolutely deserved it is problematic and frustrating. 

He storms off and Darcy sees him, commenting that she likes his attitude and finds him physically attractive. The trix take note of this along with the bad state he’s in, deciding to use it to help them achieve their goal. And regardless of how I feel about it Bloom decides she wants to make it up to him, which they use to execute their plan. The trix take advantage of this by sending an imposter of Timmy to give her a helmet they can control to make him mess up the race to give to Riven before the race begins. Bloom ends up giving it to him but quickly realizes she made a mistake, but when she steps into the race to try and stop the witches she sadly falls hook line and sinker into their trap. They set it up to look like Bloom was the one who messed with his helmet while she interfered in the race, and Riven is left in a very vulnerable position emotionally. 

It’s deeper than him just being mad at Bloom in that moment because he thinks she made him lose. It’s a build up of the entire day. He feels like he was emasculated by his friends after part of his deep seated insecurity was named out loud and additionally is embarrassed by his failure in the race and to charm Bloom, reinforcing that insecurity. There’s only one thing on his mind right now, and that’s finding validation from someone. This makes him incredibly susceptible to Darcy’s manipulation.

She tricks him into thinking she saved him and goes to comfort him after the race, giving him what he craves in that moment that he feels his friends aren’t able to provide. He doesn’t believe Bloom and is frustrated that his friends aren’t immediately taking his side. And in what is a surprisingly real moment, he’s blinded by his ego and chooses to ditch the people who actually care about him, feeling betrayed. 

Musa and Darcy are also foils to each other, and Darcy herself is actually a pretty good example of how women can perpetuate the patriarchy if they believe they can become more powerful in some way by embracing it. While she does like Riven, her crush on him is only motivated by surface level attraction and not love, and ultimately is using him as just another way to get what she wants. The first thing she notes when she sees him in public isn’t anything about his actual personhood or a desire to get to know him better like Musa, but how essentially… she finds his attitude and body sexy. Darcy offers the shallow affirmation he wants on an egotistical level while Musa offers him a genuine acceptance for who he is despite his flaws, which is what he actually needs. And what’s sad about his choice is that Darcy is only feeding his ego to make him reliant on her affirmation because that’s what she needs to do to keep him under her thumb, whereas Musa and the others would’ve helped him find an actual stable sense of self worth. The kind that comes from within.

What’s even more depressing is that he throws that opportunity away completely in his shortsightedness. After Musa sees him with Darcy in the restaurant and the other trix get a gang of girls to literally jump her, she finds him while trying to escape and begs him for help. To which he smirks and says “why should I?” And I’m here to tell you why you fucking should Riven. That girl is someone who genuinely respects, admires, and cares about you beyond just what you can do for her, and she has been NOTHING but kind to you. She’s coming to you in a time of desperation, and regardless of how you feel about her friends, standing up for her is the right thing to do even if it could cause you to lose what you want out of Darcy. But he turns a blind eye to this reality, and not just because he wants the present gratification he gets from Darcy.  

Despite it being what he needs to do if he ever wants to grow, he feels like he could never allow himself to let his walls down because that would require him to be vulnerable with someone and expose his low self confidence. And so he abandons his friends, Musa, everyone that was genuinely supporting him, which will inevitably become self destructive. 

Riven is also a fascinating character in how his motivations and internal conflict are extremely similar to the experiences of a lot of young queer men both past and present, and I think that there’s a good possibility that this was intentional. While I don’t like to throw around the term “queer-coded” I think there’s a decent amount of evidence to support looking at his character through this lens.

 Being feminine as a man is stereotypically associated with queerness, and as I explained before a lot of the ways he chooses to present himself would’ve been considered feminine or unusual for a man at the very least at the time. Villains were frequently queer coded in the 90s and 2000s (that was the only socially acceptable way to have a queer character in your story), and while he isn’t a villain (even if he functions more as an antagonist later in the season, there’s a difference) he serves a more antagonistic role in the story. He’s often the shit starter for many conflicts and is also just mean to the other characters. 

As for his experiences, trying to push people away and engage in performative masculinity to cover up fear and insecurity around your identity and how your community would feel about it is rather common among young queer men. The pressure to conform to oppressive social systems like patriarchy is destructive to many of the people it’s supposed to empower as well as the victims, and I was pleasantly surprised to see this portrayed in an older show targeted at younger audiences, even if it wasn’t perfect. It’s something I’d like to see covered in more in stories because media is a powerful socializing agent that influences how we view ourselves and our place in the world from a very young age.

I’m excited (and a bit nervous) to see how Riven’s decisions affect him in the future and how his perception may change because of that. 

I may make a follow up meta to this at a later point in his arc if enough people are interested, so let me know if you enjoyed this! Thank you for your time <3. 

[lesbianphan]

The Myth of Sisyphus and PHILosophy (lol) - a brief essay on two nerds playing a game that might not be that deep but hey who's gonna stop me from pushing this boulder up the hill of writing this?

Disclaimer: it's finally my turn to use my useless degree that included a lot of literary analysis for something extremely important to society: analyzing Dan and Phil content!!! yay!!! This is about to be incredibly nerdy and waffly, but like what else are you doing with your time anyway on phannie tumblr?? (pls read it, I just reread Camus for this for the first time in years okay I'm dedicated to my craft)

"The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy." Albert Camus

As a part of Camus' essays on absurdist philosophy, The Myth of Sisyphus deals with the pointlessness of existence, through retelling the story of the greek myth about the titular character who, as a punishment for defying Death, was condemned to spend eternity pushing a boulder up a hill just to watch it fall back down. That may sound bleak, such is the futile nature of getting up every day and doing tasks, after all.

However, that's not really what the essay conveys. As the quotation provided in the beginning shows, Camus' takeaway about the myth of Sisyphus isn't about how easy it would be to take the option of not engaging at all with the repetitive tasks that make life what it is, or even focusing on how disappointing this pointlessness is. It's about how the journey of getting up everyday and motivating yourself to hit the peak of the hill is all there is to life, really. The absurd conclusion is, ultimately, that pushing the boulder up the hill everyday is what true revolt against the senselessness of the universe is. If there is no reason, we make the reason by climbing up with our rock everyday.

We choose to be happy every day and appreciate our rock, our hill, our existence as a whole. We choose to believe Sisyphus is happy, and, as disappointing at it may sound at first, it's worth it to live your existence, as long as you decide to appreciate your present more than your future (the destination, that elusive peak of the hill).

In Dan's words, you decide to have "just one good night" together every night on tour, you appreciate the journey of climbing out of that mental health hole again. You climb up that hill again and again, because it's worth it, and there are things - bigger than yourself or your personal boulder or even your destination, - that are worth fighting for every day. You embrace the void, and have the courage to exist today, not tomorrow atop the hill.

As Camus' Myth of Sisyphus was, admitedly, one of the inspirations behind We're All Doomed (and it shows!), it makes it even more intriguing to inquire about how much of their reactions to that particular game about Sisyphus informs their perspectives on the world and their personal philosophies.

As a disclaimer, I must add: I don't claim to know Dan and Phil personally, and I only have acess to the parts of them they decide to share, the performing side of them. So, quite obviously, I can be fully off the mark on this one. Still I think it's interesting to dive into, if not for accuracy, at least for better understanding of the personas they portray online, and how their worldviews bleed into it.

The first big point a lot of people brought to the table is the shift in Dan's philosophy ever since writing and performing We're All Doomed and (most likely) a lot of therapy and work on himself over the years. Gone are the days of existential crises being treated as a joke, or mental health in general being discussed without care for what the audience may take from it. During the video, it's quite apparent that he tries very hard to mantain that voice of reason (sometimes breaking it out of frustration, which is fair!), to somehow guide us into an understanding of what this philosophy means to him personally and to his self-proclaimed magum opus WAD.

This is relevant, of course, insofar as this becomes the thesis of the video, silly gameplay and jokes aside. So I couldn't not mention it here, as it's extremely noticeable and commendable of him to now have a different kind of perspective towards the topic of mental health, in this more mature era of their content. You can tell it's relevant to him to try to get the point of the myth across, in a way that tells his audience, as much as it tells himself, that giving up isn't a choice. You must keep pushing that boulder and you must believe that Sisyphus is happy, and so will you be during that journey up the hill. Even when it falls down again and you meet frustration, you pick yourself back up and keep trying to enjoy the present once again.

Secondly, regarding Dan's behavior during the gameplay, it's notable that he gets extremely frustrated when the boulder falls down (who wouldn't?). However, he always tries to catch it and put it back in the path upwards, instead of throwing his hands and giving up like Phil seems to do. This shows, very loosely, how he handles frustration in his own life: trying to fix things and get them right on path again. It's sometimes the most difficult choice to make, but it's extremely corageous to just keep trying in face of extreme frustration. We've seen it all over gaming videos, but also on his own personal projects getting shut down, and Dan still insisting on carrying on creating things that are personal to him, even in face of rejection.

Phil, however, seemed to give up out of frustration extremely easily, so much so that Dan kept pointing it out how he'd let go of the controls and let it happen. It might not mean much, but since he himself claims he gives up on things that are too difficult, it might just be an aspect of his personality to literally let go in face of things he perceives as impossible to achieve.

It is also notable that when he made a mistake, no matter how competitive they usually are on the surface, Phil decided to ask Dan for help, or try to tag out entirely and hand it over. This may not only be related to frustration, but also to knowing how to ask for help, and also a belief that Dan is "the strongest one out of both of us" and he will be there always to help (quite adorable). Dan's tenacity in front of difficult situations is a great complement to Phil's anxious eagerness to hand over the controls when things get overwhelming.

It's interesting to point out how their personal worldview influenced their gameplay as well. Dan was focused, sharp, driven to get to the top of the mountain by keeping in complete control of the boulder at all times. He held on tight to the challenges and kept going, and he wasn't afraid to run back and catch himself enough to try again. Phil's style showed something very interesting about him that is notable in gaming videos in particular: Phil's propensity for making little goals and celebrating the little things in the path to a goal.

Getting through one obstacle that was once difficult is enough to make Phil seem content with his progress. He celebrates every little step of the journey and, in that way, it's easier for him to appreciate it naturally. He's focused on the little tasks more than the big picture, and that makes the experience more enjoyable. His goals shift, of course, as they progress through the level, and the difficulty ramps up. Even so, he's still more likely to point out that's the farthest they've gotten and, hey look at this ramp, let's get through this ramp and then we've won, because that's my goal right now, and that's enough to make me happy in the present.

This counterbalances Dan's more bleak outlook wonderfully as well. While Dan is focused on making it to the top of the hill, and gets extremely discouraged seeing there's a lot more ahead they'll never get to experience, Phil's view is that they got through that one challenge and, surely, next time they'll get through one more, and so on and so forth. Focusing on smaller things is, ultimately, a good way of finding happiness in the process of pushing up that boulder.

Moreover, Phil's brief comment about how you could "make up little stories in your head" is also extremely telling of the kind of person he is. As Camus' philosophy claims: the only way to live with an absurd world is by living through it and learning what it means to be happy in a world that doesn't make sense. In Phil's mind, a bearable way to get through the harrowing experience of every day existence is making up stories, which matches up with his creative mind. Art and creation are indeed things that can make life worth living, and it seems that even subconsciously, that's the path he'd choose against the pointlessness of repetition. The joy of creation is, certainly, and extremely human and beautiful way to find meaning in life.

The most interesting point I'd like to raise, though, is how they got through that game together: as much as Dan accused Phil of distracting him, it was interesting to see that he didn't notice that's entirely the point. The boulder falling down is nothing compared to the stories we share, the conversations we make. What is important is the journey you take, and hearing about your best friend's weird school inter-sports anecdotes, even if you have to start over because you got distracted.

And that's entirely the point I'd like to leave this of with: pushing up that boulder is only worth it if you learn to live, if you learn to love, if you learn to enjoy the present moment, instead of focusing on that ever elusive destination. Therefore, what makes not only the video interesting, but also the game bearable at all, is their interaction with each other. Much like in life as partners, Dan and Phil would, obviously, climb that hill together. They would find the joy in the little moments together, laugh, yell, get frustrated, pick each other back up again in moments of frustration, and keep going up that hill together.

The only way to live is if one imagines Sisyphus happy. The only way to exist is if you decide that, no matter what, you'll create your own meaning. The only way is to find joy in the now instead of later. The only way to make those grueling day to day tasks happy and fun, is by choosing hapiness. Dan and Phil have, in every sense, decided to keep climbing up that hill of existence together. It may be slow and clumsy and loud at times, but it's their own experience. Ultimately, the only way to experience that gaming content is by imagining Dan and Phil are happy to make it for us, and that we can all share a little bit of our hill in moments of laughter and community. That's what makes life worth it in the end.

A/N: this may be the weirdest thing I've ever done, pls accept me for who I am, thank!

[akkpipitphattana]

Your post about Babe makes me think this is a safe space to vent briefly! I love this show dearly, it's hands down my fave show of last year, I foresee much rewatching in the future, and though it's clearly imperfect, up until now those imperfections haven't interfered with my enjoyment. But - and maybe it's because there's only one ep left so the prospect of certain things/conversations happening is looking increasingly unlikely, or maybe it's because for the first time I felt the screentime/writing apportioned to each couple this ep felt noticeably unbalanced - post ep-11, I'm feeling a little wistful/frustrated at opportunities missed. Babe is a super obvious one - it feels like Style's dad has had more screentime than him, and even though Style's dad is awesome, in terms of importance to plot/character motivation, Babe clearly comes out on top, and yet as you mentioned, the writing hasn't really reflected that. But I think Kant and Kant/Bison in general have sporadically been curiously underwritten - in their post-truth scenes, imo, they've never really been given the space to explore their feelings to the same depth that Fadel has. And I think I just sort of ignored it before cos all the other stuff (not just the kissing!) was so delicious, but then in this ep, the contrast tween the burger joint scene and the tattoo scene (which seemed almost truncated) just felt so stark that it thwacked me over the head. The obvious exception is the beach scene (and maybe the swing scene?), the meat of which we now know was improvised. Which makes me wonder if it's partly because they think they can get away with it or don't feel they need to write as much detail cos FK are there to do the heavy lifting for them? And yes, FK can speak volumes with eye contact alone cos they really are That Good, but some stuff DOES actually have to be verbalised!!! And I'm not necessarily saying their scenes needed a lot more dialogue, but maybe just to be given a little more time to breathe? I remember thinking that about the opening of ep 9 with the memory box - yes, the deflection and flirting is probably in-character to a degree and most definitely the latter is a lot of fun to watch, but even just giving them a moment longer to reflect on their pain/loss before they diverted to daddy kink would've made a big difference imo.

Again, I can't necessarily point at anything in particular and say that's what should've been cut out to make room for xyz, so maybe it really is just a matter of not quite having enough eps to fully cover all the material they were working with (think that's definitely the case with Keen and Lilly, but they are fundamentally side characters, and it's side characters who always get shafted! Whereas Kant/Bison...). And yes, again, that's what fic's for, I know that. But still...the what ifs are always the worst! What if we got actual onscreen acknowledgement from another character that Kant, too, has been a victim of grooming/coercion/exploitation/whatever you want to call it, and also deserves to engineer a reckoning for the person responsible (and I'm not counting the blackmail scene cos he's still not in a position of power there given the stakes)? What if we got Bison bringing up their first encounter (since there's absolutely no reason for him to think it wasn't part of the scam) and Kant getting the chance to reassure him that night was 100% real? What if we got recognition from Fadel that Kant is basically just another tired older brother doing what it takes to protect his nong? What if we got actual follow-through on the Captain's threats after Kant returned from their torture island getaway? Imagine the parallel we could have had tween him coming home in ep 7 to find Babe with Bison vs. him coming home in ep 10 to find Babe with the Captain! What if we got just one scene where Kant finally gets to be the one who breaks down and is comforted? What if we got anything explicitly BDSM-related (okay maybe still holding out hope for this one!)? Now I'm more than happy to eat my hat if any of that comes to pass in the finale, and don't get me wrong, I'm still very much enamoured with the show and with these characters and am delighted at the prospect of prison hijinks cos I thought we'd be getting a time skip! And tbh the main reason I want to vent is just to get it out of my system so I can return to my previous state of blissful indifference to the niggles and the quibbles! ...Which is really unfair on you, I am realising at this late stage in the game! So apologies for the (tempered, not full-blown!) negativity and if you'd rather steer clear feel free to delete and ignore! I do think part of it is just the risk you run watching a show week to week when there's SO MUCH TIME to speculate and analyse and headcanon - you're virtually always going to be disappointed in one aspect or another, whereas when you binge-watch there's just no time for expectations to even be formed let alone undershot! But then of course you lose out on the sheer bananas entertainment and mass hysteria that is the collective experience of watching something real-time, and, after all (at least for those of us on tumblr I suspect!) the obsessive speculation/analysis/headcanoning is a large part of the fun!

first of all, i'm glad you consider this a safe place to vent and i totally get having frustrations about certain choices and what not, i obviously have vented my own about the whole situation with babe and the way it could have been very easily handled differently. which, my main gripe with that is that it was a very easy change to make, and a lot of my other complaints about this show i feel in general just come from them not having enough time. the babe situation would have been very easily solvable had they thrown in even ONE line referencing that kant had called babe and he was fine. no need for a whole scene or anything that would take up too much time! just a brief mention, maybe in the scene when kant checks in on style in ep9, and style asks if he's gotten to call babe. that is literally all i would have needed to feel better about that situation.

however, truthfully i don't feel like there's actually that much of a disparity in terms of how kantbison are written versus how fadelstyle are, especially not in ep11, but i have seen this take a couple of times now! i can understand why it may come across that way because fadel and style were having a lot of vulnerable conversations, whereas kant and bison weren't as much, however, i also think it comes down to what each of the brothers needed on that last day. fadel does not trust as easily as bison does, he has a LOT of self doubt and fears that style will leave. what fadel needed on his last day was the reassurance that style was gonna be there and that he wasn't gonna leave while he was in prison.

whereas bison, i feel like he needed the hope of them having that future outside of that one night. it's why he and kant talked about getting married and traveling and talked about their dreams when they were younger. we also have to remember that bison and kant reconciled a whole episode before fadel and style did, so of course they had more time to have those conversations - which we do get to see between ep8, 9, and 10. they have plenty of conversations about their past, about their future, plenty of moments reassuring and affirming their relationship. fadel and style i think are kind of playing catch up before they have to be separated in that regard, which is why it seems more unbalanced. i'm sure if you asked someone that was more into fadelstyle, they'd probably say that ep8 and 9 felt unbalanced but for fadelstyle in that regard. we have to remember these couples and these characters are not only different from one another, but in different places.

and look, that's not me saying that there aren't things i DO wish we'd gotten to see kant and bison talk about more, and i do certainly have my complaints about the fact that firstkhao had to improvise most of the reconciliation scene. i just also think because kant and bison had a lot more lies and deception between them, it's going to feel more like we're missing things when they DON'T talk about things on screen, and i again think a lot of the things we haven't seen have been an unfortunate fact of them not having enough time for everything. cause like i would have loved to see everything you mentioned here, especially kant getting the chance to have a proper breakdown cause he deserves it. i do think it's possible we'll get some of those things next week, though, as i am for sure holding out for another proper bdsm scene until the final moments

i think in general final judgements do kind of need to wait until the show is over because if we don't have a full picture, how can we really judge? that being said, i do adore this show even with the complaints i have and what i would want to see, and while watching live can be stressful and lead to some disappointment and fandom wars, it is VERY fun to get to watch and analyze and theorize live so i really wouldn't change it for the world sjdskjf

[milky-rozen]

Hello 🤗, I’ve kind been following your project for months now and I have to say I’m glad people are still acknowledging Egyptian Mythology. I know it doesn’t really have all the drama and pizzaz I suppose Greek or Roman mythos does which is why people like it more, however I find your work refreshing because it seems like you actually care about Egyptian Mythos. I’ve been obsessed with it for years and I’ve even done my own research over the years myself and could never fully understood why people didn’t care for it as much. Even after watching Hollywood Blockbuster films like “Gods of Egypt” the movie frustrated me in so many ways but the biggest one being that it felt like a knockoff of Clash of the Titans. So I’m done with my little rant but I was curious on what sparked your interest in making this project? How often are you taking creative liberties with your story? Also how do you come up with such creative designs for your characters will also keeping the historical consistency of Ancient Egypt?

P.S. Hope this all made sense 😀

Heya!

So, first of all, thank you so much for your kind words, they really made my day!

Second of all, let me reply to all of your questions in order so I don't forget anything lol

Ok so, as for what sparked my interest in making this project, It all started with me playing a mythology-themed video game called Dislyte. I've always been into Egyptian Mythology since I can remember, but when I was a kid, things were a bit different from now and I didn't have access to the Internet as I have now as my father would set up a limited screen time for me and my sister on the computer, and also at that time, I just didn't know how to research things properly lol. So, nostalgia led me to explore new and old media about Egyptian mythology and do some proper academic research to get to know the main and minor myths better. During this "research phase" I discovered the Korean manhwa Ennead, which inspired me and my character designs a lot. Afterwards, as I realized how little material exists about this mythology in particular, I decided to create something myself that could help fill that gap, something that could bring people together and spark their interest so that I could have someone to talk to about Egyptian Mythology lmaooo. But also, I always wanted to work on an original comic series and so I thought that this could have been the best time to start! And so, House of the Sun was born!

Now, talking about artistic liberty, it really depends on the comic we're talking about. In Thoth's Library, I try to be as accurate as possible to the actual myths, only taking some artistic liberty when I need to link some facts that would otherwise sound a bit random and incohesive to the narration, adding some motivations and sub-plots to link all the stories together while trying to stay true to the original sources. Although, this might change in some future arcs. In Young Horus, although some connections are accurate, I decided to fill all the gaps I could with an original coming-of-age story for Horus the Younger to create something new and have fun with it, so the majority of the things happening in the comic are purely fictional. Of course, I always make sure to put a disclaimer for that in every episode just in case ahahah

As for the inspiration behind the character designs, I wanted to create something very personal and somewhat accurate in terms of clothing and overall presentation without including those classic elements we all know, like the animal heads or masks we often see in other media. I was especially inspired by something I noticed in Ancient Egyptian art, like the fact that some gods like Ra have both a human and animal form, and so I was like, you know what? I'm leaving the animal iconography to other contexts, I'm going full human this time lmao. Well, kind of, since I still wanted to include some animal traits that are very iconic to Egyptian art, like the tails (often used in classic Egyptian iconography to depict power and royalty), the ears and sometimes the paws too because, why not? 😂

Man, this was a very long reply lol I tried to be as brief as possible but I'm not good at it honestly ahah soooo, thanks for sticking with me so far! 😂 and, oh! Before I forget , Happy New Year!

[local-redhead-bookworm]

Finished Gundam 00. My closing thoughts, in no particular order:

I’m glad that almost everyone has their happy ending and something to keep working toward

I enjoyed how Graham’s arc was about learning to live for something other than revenge (you may be noticing a recurring pattern with me). He spent most of season two being driven only by his desire to fight Setsuna again for honor, and how it closes with him finding something new to live for.

I still find Katagiri’s story a bit frustrating. Like yes Sumeragi shouldn’t have used his feelings to her advantage, but my guy. Becoming a fascist is already a bad idea, somehow it’s even worse when it’s motivated by relationship issues

Lyle killing Al-Saachez is just as deserved as if Setsuna had done it. I know we’d just had the whole big realization about the necessity of understanding each other, but Al-Saachez had no interest in trying to understand anyone else.

I was so upset about Tieria, but if he’s still alive inside Veda he’s not really gone. It’s like how in Ninjago Pixal went from an android body to being a program in Zane’s memory bank. Idk, it’s been a long time since I watched Ninjago

This show takes a very interesting philosophy on war. Wing asked more vague questions on the ethics of war, and what happens when you take humanity out of the fight and replace it with technology. IBO comes closest to truly analyzing the role of capitalism in war. But 00 questions the interplay of diplomacy and war, and how our approach to interpersonal conflict affects how we approach conflict on a broader scale. The message I feel 00 was aiming for is one that aligns with some of my core beliefs: in order for us to live at peace, we must see each other as equals and make every possible effort to understand each other. We may not always succeed, but if we approach our problems with the goal to find common ground and work together, the world will be a better place. Will it be perfect? No. But we don’t have to be perfect, we just have to try to be better

I’m really fascinated by the angle this show has on religion, sin, and deity. The religious themes are baked into the show, starting with a protagonist raised in a militaristic religious war, to the final villain being a man who wants to make himself God because he sees humanity as below him. There is also an element of guilt, the idea that there is blood on everyone’s hands. There is blood on the hands of the soldiers, but there is also blood on the hands of the civilians who choose to remain ignorant and look away. But the show does not say that we have to find a way to wash off that blood, only that we learn from the past and keep growing and trying to be better each day.

I did feel like all of this was slightly undercut by the fact that at the end, Celestial Being is still active. However, it did seem that Celestial Being would be looking less to act as they did in season one and more to work in conjunction with diplomatic forces, as a last resort when all else failed or intervening to help the innocent. I’m still a bit saddened that Setsuna doesn’t get to settle down and live a peaceful life, but that wouldn’t be realistic with him, to be fair. Marina says it herself, all he knows how to do is fight; if he cannot stop fighting, he has to change how and why he fights.

I really enjoyed this show overall. To be fair, there’s yet to be a single Gundam piece I wholeheartedly dislike, but I like a lot of how this story was told.

I feel like this one was a lot less character-oriented than other Gundam stories were. It works for this particular story, because like Wing, it’s interested in asking a broader philosophical question and less on the characters themselves in the situations. The characters’ backstories are important to why they choose to become involved with Celestial Being, but their life experiences did not have much influence on them otherwise. I do think that’s because the scope of this show was so big, and we as the audience are looking at this entire story from a much broader scope, so the extreme minutiae of character are less important than the broad strokes that lay the scene for a much bigger conversation.

[spotlightlowlife]

Make Charlie and Lucifer PROUD rulers of the PRIDE RING

Charlie is a princess, so Lucifer is pretty much a king, so why not establish this?

There is nothing that tells us that this guy even runs this particular region of the entire realm he created.

Where is his palace?

His grande entrance was walking into the hotel his daughter owns that we haven't even explored.

Who bought Princess Charlie her own hotel?

Where is the boasting? Any ostentatious showcases of high status that would be normal for even well intentioned rich people? Being rich, flash and used to a lot of freedom can easily create someone who doesn't know best but is adamant that they do, no matter how silly they end up looking and how frustrating they can be, even when meaning well.

Hell is Lucifer's territory that he created and gives exterminator angels, who are nobodies, free reign of whilst he has a key to the door and seat at the house in heaven.

Lucifer hates the sinners so his lack of leadership and agreement to their genocides are spiteful acts - so let him be proud of his hateful ways, especially if it won't matter.

Charlie's issues with daddy, what we l got sold, was simply not giving her what she wanted the very moment she wanted it, that's what their episode boiled down to because honestly, what did her flashback have to do with anything? She's a grown woman who remembers a loving, fun and interesting person who made time for her but her mother would spoil that? Her dad is the only one of two people she can emotionally blackmail with 'if you loved me....' to get her own way, yet she's no emotional blackmailer, she's 'nice', the writing direction and her lack of doing wrong or anything in particular leads us this way.

Let Charlie be a manipulator who flutters her eyelashes and puts on a sad face to sway others, it's not like they haven't already made her more infantile. Why not commit more to her being a bit of a brat?

Lucifer and Charlie's different stance on the sinners was very short lived. Charlie got what she asked for and wasn't setting out to change daddy's mind, so much so that his involvement in all this wasn't even acknowledged. She's supposed to pitch to different people who are in different places and win them over, daddy would have been a good start to atleast try with, we could have seen how she tackles a lost cause of an ally.

We didn't see how she got her 'team' on board, but we did learn early on that she bribed Angeldust, we go on to learn that Husk and Nifty are tied in with Alastor who chooses to work with Charlie but has some ulterior motive, Cherrybomb who we get for a minute is Angel's friend and Vaggie had just been thrown away and picked up by Charlie.

We literally had two outsider characters engage with the hotel and barely with Charlie. Sir Pentious who stuck around but has since checked out and moved on to bigger and better things, all thanks to Charlie's enemy (who ironically succeeded at doing her dream job) and Mimzy who bought us valuable information and could bring us a lot more, but she's not welcome anymore, Charlie wasn't the one to banish her, she didn't see her worth at all, nor that of the unknown sinners Alastor wiped out.

Where is her outreach?

Community exists and others are thriving.

Why isn't this singing, dancing, out of touch clown out in the community like anyone else selling their cause?

Why isn't she upselling the business and all it has to offer on the regular like she supposedly did before we met her?

She can still be 'nice', showy and stubborn, all traits of being PRIDEFUL.

[daily-hanamura]

Love your analysis of Yosuke’s character, it’s so detailed and fun to read! I’m kinda curious, what are your thoughts on his characterization in the fighting and dancing games?

Waaah thank you so much!! I'm glad you enjoyed them 💖

Oooh I actually LOVE his characterisation in p4d and p4au, probably because I think it brought out all my favourite parts of Yosuke and it really felt like Yosuke had matured a lot compared to his first appearance.

In P4A/U for example we see a lot of thoughts from other characters, and I really love that it's revealed how the others - not just Yu, but also Yukiko and Chie - rely on Yosuke a lot for emotional support, as the morale booster of the team, for direction when they don't know what to do, as the glue that keeps the group together, and it's so fantastic because it's so unlike how Yosuke sees himself. A lot of Yosuke's POV also reveals how much overthinking he does and how, despite his empathy in noticing when others are frustrated or worried, he feels like he doesn't do a very good job at cheering them up, even though when we look at their POVs we see that he did!! Both Yukiko and Chie call him up when they were worried about their friends going missing BECAUSE they feel better from talking to him!! Sorry but this particular factoid, this specific gap, sits in my head like a spitroast being rotated all the time because I cannot get over it. But he's trying though - we can see his motivations for the things that he says and how he tries to lighten the mood and yeah. It's great. I went into P4AU thinking it was going to be whatever but let me just say that was the game that triggered my single-minded obsession about Yosuke and the reason why this blog exists LOL like I was very much souyo and yosuke-brained aftert P4G but oh boy. P4AU tipped me over from obsessed to building this damn shrine for him :'D

He always laughs deprecatingly at himself even in the post p4g games, like in P4D - when he dances well he has a line that's like, "not such a disappointment after all" and it, again, really shows how he has such a poor perception of himself that he doesn't see his own good points, like the fact that he held out the second longest during their dance training, losing only to Rise, as pointed out by Yu. He's naturally talented and keeps up well with everyone elses dance style, but he doesn't really notice that either? Also a side thing I find hilarious/cute/endearing in P4D is also how Kanji exposes Yosuke's idol-loving-hours and Yosuke gets extremely embarrassed about it, because at his heart Yosuke does still like that kind of (somewhat) superficial thing, but he doesn't want people to know! It's a stark contrast to how he was earlier in P4G where he's more open about checking out girls (again, the whole "is this overcompensation" vs "is this a product of bro culture from his childhood friends" is a conversation that we can have) but it's a reflection of how that kind of talk tapers out a lot as the game progresses, and P4D was really consistent with the kind of growth that P4G gave Yosuke, instead of reducing him into that best-bro-friend stereotype, and for a game that was actually so short in narrative substance compared to P4AU, it was great. (I'm also convinced that P4D was trying to tell us Yosuke and Yu were dating but I'm not going to start on that again LOL)

And I think ultimately the reason why I feel like P4AU and P4D showcased a lot of growth for Yosuke is in his relationships with other people, because as much as Yosuke worries about how he's remained static, I think the fact that the others treat him with such respect (like when the first years and Teddie acknowledge that Yosuke is basically the team wrangler, and the difference between Yosuke at the start of P4G/in Magician compared to P4AU/D was someone who had become a lot more receptive about forming genuine relationships with other people instead of just protecting himself by surrounding himself with superficial relationships and yeah. yeah.

[halfhoursonearth-writes]

A new fic and some thoughts on process and the miscommunication plot

I’ve gotten a bit blocked working on the next set of chapters for But Who’s Counting?, and I probably won’t have anything I’m happy with to post for a few weeks.

But, to try to break through the writer’s block, I took a discarded idea for an early version of that story's climactic scene and wrote a short new fic. I don’t consider this story a spoiler for what’s coming in But Who’s Counting?; basically anything I plan to keep for that piece, I’ve changed in this one.

And you certainly don’t need to read But Who’s Counting? in order to read You Make Everything Better. If you like Zutara fics with yearning, self-denial and also the end of yearning and self-denial, I hope you'll check it out!

I also brought some some writing process thoughts. Oops.

Something that has happened both times I’ve written Zutara multi-chapter fics is that the two characters fall for each other earlier than I initially plan. I’m not the most committed outliner—as a writer I’ll usually follow the energetic flow of the characters rather than any hard plotting I've done. And I find the empathy just grows so quickly between these two characters once there's opportunity.

The downside to writing this way is that often the scenes that initially motivated me to write a particular story no longer work in the story as it unfolds. So I’m often killing darlings while they’re still a twinkle in my eye.

In my initial (imagined, lol) outline of But Who’s Counting? the climactic chapter looked something like this new story. But then the relationship between the characters progressed too significantly to land in this sort of scene without constructing a major miscommunication plot for the sake of it. And I thought about doing that! I started writing that draft. And then I had to reconsider.

I don't dismiss miscommunication plots out of hand. In fact, I think miscommunications are basically essential devices in certain enemies to lovers or friends to lovers plot arcs. And frankly, real humans miscommunicate constantly, so I think this trope is more reflective of reality than it's given credit for.

For these reasons, there’s probably still some miscommunication ahead in But Who’s Counting? because there’s a lot these characters still don’t know about one another, their respective worlds, and what they want. But I didn’t want to contort the character arcs for the sake of a scene that no longer fit the story. For me, when miscommunications require me to suspend disbelief about character choices, that's where they get frustrating.

But I just couldn't let this scene go. So now it finds its own way into the world!

[idontknowreallywhy]

WIP Wednesday

This isn’t what I am supposed to be writing, but it’s been… A Week and I’ve struggled to write anything at all. Only this, for some reason, and I’m not 100% content with it as it is still kind of clumsy. But… work in progress, right? And sharing does seem to motivate me to pull the words together so here we are!

Instead of the three possible things I plan to be adding to / finishing in the near future, I’ve leapt months and months ahead in a currently dormant fic because I’m fascinated by what might happen when the truth of a particular incident is revealed. So we have Scott having a panic attack and a bit of the frustration of being a whole world away from someone you’d really like to be able to comfort with more than just words… both of which could be considered personal catharsis I suppose.

*apologises to characters for inficting more angst upon them*

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The call finally connected, voice only this time, and she could hear seabirds.

“Scott?”

“Hey.”

He sounded so deflated it knocked the breath from her lungs and she found herself straightening up and clenching her fists as her body instinctively readied itself to fight and destroy whatever it was that had hurt him.

“Hey Blue, what’s happened?”

There was silence. No, not silence. She could hear him breathing erratically against the white noise of the sea and the occasional gull squawking in the distance. His despair was almost tangible from half way around the world.

She tried an easier question:

“Where are you?”

“Volcano” it was barely more than a whisper.

“On the island?”

“Yeah… it’s… view is nice… up here. Lot of sky.”

“Sky is good.”

“Mmhmm.”

She could hear a faint gasp as if he’d suddenly remembered to breathe. Then several short panting breaths before he was clearly holding it again as there was only the sea.

“Scott… can you try a slow breath for me?”

She could hear him inhaling in through his nose and blowing out through his mouth with the faintest whistle.

“That’s it. And again.”

He obeyed and mumbled an apology.

“You don’t need to apologise. Give me another breath.”

He did. Then swore softly.

“I don’t think they trust me.”

“Who? Your brothers?”

“Yeah.” The word was little more than a squeak.

“What has given you that impression?”

He huffed the least joyful laugh a human being could ever emit.

“Not just an impression.”

“Ok... What is the evidence for your conclusion?”

“I’ve messed up so bad. I… they… they think I… that I could…”

His breathing was quiet but way too fast, a faint squeak at the end of each inhalation betrayed his losing battle with the panic.

“Slow down, Blue. Where never lark…”

“Or-ever-eagle-flew” the words came out in a rush but after a further shuddering breath he managed to get his breathing more even and apologised again.

“Stop it, you’ve done nothing to be sorry for.”

“Mmmh”

“You don’t have to tell me what’s going on. I’ll just stay here with you until you’re feeling stronger, ok? Until you can find Virgil or one of the others to… Scott?!”

The gasp she just heard was so saturated with pain she was sure he’d been physically hurt - that he’d just been stabbed or fallen somehow - and she was unable to hide the panic in her voice:

“Scott! Are you ok? Please answer me.”

“I’m ok. Sorry.” He sniffed and tried to hide it with a cough. “Just… can’t… not them. Not about… this.”

“Oh Scott…”

“They… they…” his voice faded out again. Not for the first time, Estera wholeheartedly wished she had her own Thunderbird handy as being stuck on the other side of the planet when her friend so clearly needed a hug made her want to gnaw her own arm off.

“They…” He was trying again but clearly couldn’t form the words he wanted.

“You don’t have to tell me, it’s ok, I’m here anyway. We can just sit.”

Another faked throat clearance then in a tiny voice that seemed utterly incongruous coming from a man with such a large presence:

“N-need to? Please? Nobody else…”

“Of course you can! It’s ok! It’s alright… It’s… ok. Take your time.”

He sniffed again then Estera could almost hear him counting the length of his breaths. She wracked her brain, trying to think of something, anything she could do to make this better. The smallness of his voice hurt - it was so wrong - it was as if with the same words in which he was tentatively asking for help he was also somehow apologising for taking up space in the world. She found herself recalling little Alex, red faced and full of tears, gasping and unable to verbalise his frustration until she nudged a pencil towards him and he’d snatched it up and carved “THEY PUSHD ME DOWNE” six sheets deep into her notebook. Huh. What if…

“Would typing be easier? I can stay on the line?

“Mmmh”

There was a shaky sigh and then another breath-holding pause before a text message popped up.

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[utilitycaster]

"There is zero attempt to extend anything but bad faith."

standing ovation for tidily describing this fandom in a nutshell tbh

Thanks, but I'm talking about a particular subset, the handwringy overwrought appeals to emotion crowd for whom the gods can never under any circumstances be redeemed, so unless you are also talking about that specific small piece of the fandom, I disagree! I actually think the fandom at large has been pretty receptive to the story as it's being told. And honestly, even when I've been in fandoms that frustrated me greatly with widespread bad faith interpretations (Midst and WBN have both had problems here)* they've come around when more obvious evidence came about. Better late than never.

I do think that an issue in this fandom, and fandoms at large, is not so much bad faith but as someone else said, motivated reasoning (though in the case of something the motivated reasoner dislikes, will become bad faith). A lot of people decide how they want to the story to go very early, often in a manner that validates their own existing real-world politics (even if they're not super applicable to the situation at hand) or personal preferences. I mean, that's in the end the source of a good number of shipping bad takes - people decide two characters must be in love and so even if they start dating other people and not talking to each other anymore, the motivated reasoning shipper decides that ACTUALLY this is all a front and the actor's blinks are in secret code and the relationship will definitely break up and the True Love was Always Endgame no matter how many times the creators say "no, it never was our intention to have those characters get together." But even then I think the silent majority of most fandoms are just. vibing and happy to be here. It's just that motivated reasoning people are loud.

And I'm not setting myself apart here; I'm loud and I'm certainly not without bias. My motivated reasoning tends to be based on foregone conclusions that I think are more likely to actually play out, I think, and I try to be self aware about it, but like, I do tend to assume stories will be good and follow some narrative lines and use the hints they drop, and that is itself an assumption because some stories are poorly made. Like, for example, with the gods, I do think that there is very little chance Matt is going to tell a story that's like "hey, Ashley, you know your first ever TTRPG character, who brought you into this friend group and whose life's purpose is to restore worship in the Everlight? Bad news, Everlight's a genocidal cunt and she's gotta die." That's obviously not my only evidence here. We've got the whole opening scene. We've got the fact that the non-Aeorian NPCs who aren't divine companions we've spent time with have been a sickly old man granted peace in death, a gnomish woman granted solace after being cruelly mocked by Aeorian forces, and the beggars who didn't have food despite wagons of supplies going to Aeor, whereas the Aeorian NPCs have been guards, slimy bureaucrats, teens badly beaten for minor crimes, and a drunk cop; the defaced and forgotten temple in a poor neighborhood that is heavily surveilled from afar because its laborers are unwelcome. Hell, as I said before it aired, the fact that the main PCs are gods and not Aeorian mages is a very deliberate and telling choice on its own. But yeah on some level, while I think Bells Hells have the space to decide to kill the gods since they are those same cast members (thought I doubt that is what they will do), I do not think Matt will tell an earlier story that says "hey, everyone at the table except Marisha? your beloved character(s) whom you played for all or most of a campaign followed a rotten-to-the-core lie."

Going off the meta of creators is a bit risky - a lot of dumb D20 discourse is based on assuming Brennan's leftism is the same as Very Online I Do Not Dream Of Labor Leftism and not his actual "the BBEG is the exploitation and undervaluing of labor and the dehumanization of others; labor itself can be deeply fulfilling, you just shouldn't be forced to rely on your capacity to do labor to the exclusion of all other things to be housed and fed" leftism and reasoning from there - but it's certainly more reliable than going off reasoning of "I as a random private individual want the gods to die for whatever the fuck reason and therefore that is the correct thing to happen and any other outcome is bad."

This is very rambly because I just got up and maybe it's that it's a nice morning and I can actually enjoy a leisurely breakfast before going into work unlike most of last week and much of the rest of this week, but for all I proudly identify as a hater, I am very much a lover of fiction and I want it to succeed and I want it to not just validate me. Like, if I hate on something it's because I wish it were better, but I don't hate on something just because it presents a different viewpoint than the one I already held. And I think you have to bring that good faith to fandom as well. If people are being idiots and assholes then yeah you don't need to keep acting like they're valid for that (I mean, they're valid in that everyone has the right to their opinions, but not in the sense that you need to grant those opinions intellectual consideration on par with thoughtful and evidenced meta and theories) but I do not actually go in assuming the fandom is going to be wrong and dumb and disappointing, and I think that's why I've found such enjoyment in it. Most people are chill! Chill people just tend not to loudly say WOW I'M SO CHILL AND THIS STORY IS GREAT.

*one bit of salt to cut the sweetness here but also still weirdly positive: the way I've dealt with that and specifically WBN is that I am trying to write one piece of meta after each episode that doesn't attack people or anything, just lays out my thoughts respectfully. Be the change you wish to see. I think a lot of people in fandom see someone disagreeing with them and go "OH YOU CAN'T LET US HAVE ANYTHING" and frankly this is the cause of almost all fandom unpleasantness I've experienced (in the sense of people seeing me say I don't like something and acting like I shut them down instead of simply didn't vibe), but it's important to remember that isn't how it works. Even if you do think the fandom has widespread bad opinions, you can change this by being thoughtful and patient and putting forth better ones. I mean there's limits, and if a fandom is genuinely hateful, get out, but if it's just surface-level takes for something that should be deeper? Be the one who shows the depth.

[loonarmuunar]

Just finished Saw II. And I have MANY OPINIONS

I don’t think the larger cast works in the runtime for the film. I think it COULD work! But with the fast pacing and shorter runtime, it ends up being awkward.

Saw was great bc it hurt. The audience is given time to connect with the characters. We see them try over and over again, only to end up right back where they started.

But in Saw II there just isn’t any time to learn much about anyone. I don’t think we even learn some of the characters names? I couldn’t connect to any of the characters, besides Daniel. There’s just. Very little to no downtime in the film. We don’t get to know a lot of the characters motivations besides “get out of here”.

Like. Why did Obi kidnap them?? He said he had to, but. What does that mean. Was he being threatened? It feels odd to me that they went with that, when they could’ve just said he did it for money or something. Or just had Amanda take the others, like she did in the first film.

Tbh Addison (had to look up her name) doesn’t even seem to have any distinct traits?? She’s a prostitute, but we learn that in the weirdest way. Xavier (I think?) says “The only door you know how to open is between your legs.” which. I gotta say is such a ridiculous line that it’s funny. Does he say this about every woman??? Was this just a lucky guess?? Is he just REALLY GOOD at telling who’s a prostitute???? That’s just the silliest way I can think of introducing her profession akdksk.

She might be quieter than most of the other characters (maybe??), but I think it’s more that the others are constantly screaming at each other. You could possibly say she stays in her lane?? But there’s just nothing much you can say.

I can’t care about these characters while they’re living, and so I can’t care about them when they’re dead.

Also it looks more like they just tried to kill off as many characters as fast as possible. GOGOGOGO SHOT IN THE HEAD BURNED ALIVE NAIL-BAT NERVE GAS EVIL BOX EVIL BOX!!! Like Idk what’s the point when you could just. Have a smaller cast, and have more time for other stuff like. Learning who they are.

Saw ii is just a lot of shock value. Which, I don’t MIND shock value sometimes! Sometimes it’s awesome to see how special effects will make it look like someone got split in half, or exploded from the inside, or whatever. Sometimes it’s Sick As Hell! I am not above watching gore for gore’s sake!! But in the particular instance, I think shock value is the WORST THING you could do here. Because it’s a very strong veer away from the quieter, more anxiety inducing gore and fear in Saw.

Going from Saw’s slow paced dreadful horror, exploring two characters deeply, and occasional bloodshed, to Saw II’s huge cast with not enough time to explore any of them, and non-stop blood and gore, is just frustrating.

Also! The gore and ickyness just kinda loses its value for me! In Saw they cut away occasionally from the gorey parts. And I LIKE THAT. Whatever you can imagine will always be worse. Writers typically don’t tell you what happens in a Noodle Incident, bc whatever you imagine will be far more interesting. And it’s not like we were missing out on anything, because there were other instances of onscreen blood and gore. Imagining how it would look seeing Lawrence sawing off his foot, or Amanda cutting open someone’s stomach, is a lot more effective than seeing it happen.

Saw II wants to do everything Saw did but MORE. Gorier louder bigger more characters. But it ends up being a movie with no substance.

It’s honestly not a bad movie on its own merit. If it was its own film, it would be pretty okay to me. But it fails to even live up to Saw, much less stand next to it.

Maybe Saw III will give more context to things. I don’t know. Shrug. Would love to see some other takes on it! I want to understand why others like this movie :]

[caitlynkirammansrifle]

Post About a Certain Acane Character in "Heart Made of Glass, My Mind of Stone"

I've been getting a lot of questions about a certain character from the show that hasn't been mentioned or introduced in my fic yet. If you want to know more/be spoiled a bit for this fic, more below the "keep reading" line. The spoiler will be about who that character is and why they're not in it/why I made that decision. The spoiler itself won't tell you anything I plan on doing for the story, though it will spoil you if you haven’t caught up on this fic, but will tell you what I don't plan on doing with the focus on this character.

Silco will not be in this fic. At least the first one. I hate to say "never" when writing, but he will most likely not be in the sequel either.

I think Silco is one of them most well portrayed villains ever written for television and the fact that we got him for just 9 episodes is fucking bonkers to me. He is one of the most incredibly well written characters in the whole show. He is a deeply complex character with sympathetic motives, but horrific means. It's a classic villain trope, but fuck does Arcane practically perfect that in Silco. I love to hate him and I hate to love him.

Now, that plays into why I don't want to write him:

I know myself well enough that I would not be happy with any kind of portrayal or twist I could put on him and it would frustrate me to the point that I could see myself abandoning the fic or not being happy with it like I am right now.

I don't see a need for him in my story. I am doing a different take on the story of Zaun vs Piltover, of the shimmer plot, and the political intrigue. Silco's story in all three of those areas was told already in the show, brilliantly. I have no want or desire to basically do what was in the show. The whole point of me writing this fic was a "what if" (more on this below)

Since I am drawing on a bit more LoL lore, I already have people other than Silco that I want to explore in this particular story/setting that I've changed up, twisted, what have you, but that will come up a bit more heavily in the sequel. In this one, the foil to Cassandra and her alliance are currently the Chembarons. They weren't really featured all that much in the show, save for few key moments, but overall, it was not much compared to Silco/Ambessa, and that makes me want to explore them more than Silco. I wanted them to be the antagonists of this fic. (You might notice that my fic has a lot of people featured in it that aren't primarily explore a lot in the show: Cassandra, Shoola, Grayson, etc. to name a few).

To state the obvious: this story I'm writing is similar to what the writers did in the Timebomb episode in season 2. My own "what if" story.

What if Caitlyn and Vi met as teenagers? What if Cassandra was the one who wanted to end corruption of Piltover instead of Jayce? What if Vander ended his revolution not because someone he loved took it too far, but because he took it too far and many more people died, including his best friends? What if Vander lived and helped Vi off of her dangerous path of rage and violence?

Etc., etc.

Lastly, I will just say that I use the tag feature on AO3 very, very intentionally! If you don't see a major character's name in the character tags, then they either haven't been introduced yet or they won't be in the fic at all. But typically, if I know they'll be in it, I will add their name to the tags as soon as I can.

Silco just won't be one of them.

Thank you all! <3 <3 <3

[veliseraptor]

Reading your Xue Yang fics is so validating on a personal level because it seems like Performing Good Behavior often isn't enough for people. Not all of us do good things out of some innate altruistic yearning. Some of us do good because it makes our lives easier or makes a loved one happy. And it's hard not to feel upset and frustrated when people value a Good Heart over Good Behavior. It's really nice to read Xue Yang struggle with this and to feel understood.

oh man anon I'm glad this is valuable for you because it is something that is very important to me. the value of distinguishing between "doing the right thing is only enough if you're doing it for the right reasons" (internally determined, potentially unattainable standard) and "doing the right thing in and of itself is sufficient and what actually matters at the end of the day" (results-oriented, what's going to make an impact on other people) is a really important one to me

the former can be genuinely paralyzing, I think! even for people who might have an ~innate altruistic yearning~ (whatever the fuck that means) can get hung up on what is the right motivation, am I feeling the right motivation enough, if my motivations are selfish then does it really count/is it worth doing, etc. etc. obsession spiral.

in a lot of ways I really do think what counts is what a person actually does rather than whatever internal processes motivate that action, because ultimately peoples' motives are generally inscrutable to me but peoples' actions are what I feel/perceive. and, too, playing the game of suspecting other peoples' motives is an exhausting one and ultimately doesn't get a person very far.

so yeah. this is what I mean sometimes by not calling what I do with Xue Yang a ~redemption arc~, because it's not so much about fundamentally making a change in his motivations/moral standards (which I feel like people make a prerequisite for a "real" redemption arc, sometimes; the character must FEEL BAD about their previous actions and REPENT for them); it's about giving him reasons to make different choices going forward, whatever those reasons might be.

anyway, thank you, anon, and I'm glad that this particular piece of my writing can make you feel understood.