#dislike the execution unfortunately

[thekidthesuperkid]

Lois Lane reading recs?👀

Sorry it took me a while to respond, I had to go back and skim read some of these comics to be sure I was remembering them right and some of them i ended up rereading for real lol. I am going to preface this by saying I'm still working my way through the Superman ongoings so that's a blind spot in my knowledge of any of the characters there. That being said, here is my list, ordered vaguely in order of relevance...

Lois Lane Vol. 2 (2019) - I literally cannot emphasize this one enough, it's so good. If you only ever read one thing about Lois please read this. You might need a basic understanding of the Rebirth timeline changes to follow some of what goes on in this series, but to get that you just need to read the wikis, ask someone for a summary, or go read The Final Days of Superman and Superman: Reborn and maybe Convergence Superman too. This series is twelve issues long which is an easy length but not too short, it's written by Greg Rucka who's a pretty good writer in my opinion, and it's just such an engaging story overall. It features Lois investigating corruption, a team-up with Renee Montoya aka the Question, a discussion of the ramifications of timeline changes, Perry despairing at Lois' typos, gay flirting, and Clark dropping in every so often to be adorably married. Also Rucka so clearly likes and respects Lois as a character and it comes through in the story. I almost want to call this series a love letter to Lois Lane.

Action Comics #1, 2 - the first ever story about Superman and Lois Lane. Every comic since then has been built off this one.

Action Comics #6, Superman (1939) #29, 33, 34 - these are some classic Golden Age Lois Lane stories. They're all collected in the Lois Lane: A Celeblation Of 75 Years volume and that's where I read them. These stories are all really fun to read, they show the original characterization of Lois: headstrong, stubborn, determined to prove herself, and very intelligent. They tend to follow a similar format to each other where her male coworkers heckle her or make fun of her or attempt to sideline her and she goes out and proves them all wrong. That 75th anniversary collection has some other good stories too.

The Death of Superman, Funeral For A Friend, Reign Of The Supermen, Return of Superman - the Death of Superman stories may not be primarily focused on Lois, but they were a huge event for Superman comics as a whole and therefore are important to Lois too. She has an important role here, she does in most Superman comics, but this one brings a big change in her life so it's good to read this. It's super easy to find reading lists for these, it'll come up as soon as you google it, but I can absolutely put one together for you if you need it.

Superman (1987) #50, Action Comics #662, 720, and Superman and Lois Lane: The 25th Wedding Anniversary - the first three are the issues where Lois and Clark get engaged, Clark tells Lois his identity, and Lois breaks off the engagement, respectively. The last is the collection of the five issues where they get engaged again, get married, then go on their honeymoon. I unfortunately don't have a more detailed list about that era but hopefully I will soon.

The Chris Kent comics - these are pretty good for Lois, they feature a full character arc for Lois about her decision on whether or not to adopt Chris. Lois and Clark have a whole dilemma on whether they should become parents, so its an important story arc both for their relationship and for their personal feelings towards family and parenthood. It's also just really sweet because Chris is literally the sweetest kid ever. This is a link to a post that has the list of comics:

New Krypton era - if you can, I definitely recommend you read this, because several parts of it are important for Lois. I can't give you a detailed list on this because I read it like two years ago all at once so there's a bunch I don't remember and it's a huge storyline so laying out the reading order is going to take more time than I have right now, but I know there are New Krypton reading lists out there, and I'm going to try to make a list myself sometime in the near future. The post I linked in the previous paragraph also has a link to a post that lists Chris Kent's stories in that era. Chris' stories have Lois show up sometimes and have important further exposition on their relationship. And in addition to that, there are also parts of New Krypton where Lois' father is involved, one issue where he dies, and a few parts where her sister is involved as well. It's a pretty big and important era for the whole Superfamily.

Wonder Woman (1983) #170 - Lois spends the day with Diana to write an article about her. It's great because it establishes a connection between Lois and Diana. It's really interesting because it's examining Diana's character through the perspective of an outsider, and filtering everything Lois learns about Diana through the lens of Lois' biases and preconceptions. Lois' reflections on Diana end up being a reflection of herself as well as being about Diana. Also I just really like Lois and Diana being friends.

Mysteries of Love in Space #1 - possibly my favourite Clois comic of all time. Literally amazing, no notes.

Lois Lane Vol. 1 (1986) - this is one of those comics where the writer decides to talk about a social issue they're thinking about and uses comic characters to do it. In this case it's about children being kidnapped and trafficked, and it follows Lois trying to write a story about the issue. It's honestly not very important in terms of getting to know Lois, and I don't even know if it's part of main continuity, but it's nice to have a story that focuses exclusively on Lois doing her work.

Superman (1987) #88 - a story where Lois gets very angry about the mistreatment of Bizarro by Luthor and Lexcorp. Idk I read this a couple days ago and enjoyed it so I wanted to put it in. Its not really important but if you want to read the full story arc it's titled Bizarro's World and the issues are Superman (1987) #87, Adventures of Superman #510, Action Comics #697, Superman: The Man of Steel (1991) #32, Superman #88.

Superwoman (2016) #1-8 - this one actually has very little Lois in it, and the Lois that's talked about most in it is New52 Lois who you may or may not be able to call the same character as pre-Flashpoint/post-Rebirth Lois, but she persistently haunts the narrative in a way that's really cool to me. Also the other Lois shows up too, if briefly. The story is about Lana Lang being Superwoman while also kind of having to step into the shoes of Lois who was also briefly Superwoman. In general its a great series and has really pretty art so even if the lack of Lois disappoints you its still really good on its own, especially given that its written and drawn by Phil Jiminez who's really solid. You will probably need to read the Final Days of Superman and Superman: Reborn to understand this though.

Superman Smashes The Klan - this is a retelling of an early Superman story that's not in-continuity. It's a really really good story though and i do recommend you read it even if its not for Lois.. It doesnt have much Lois in it, it mainly focuses on a pair of children caught up in some racist attacks, but it does have one of my favourite Lois moments ever...where she's shown to be one of the very few people who aren't afraid of Superman when they find out he's an alien.

There are also a couple books that are for a YA/preteen audience that are exclusively about Lois, Girl Taking Over, and Lois Lane and the Friendship Challenge. Both are pretty cute easy-to-understand stories about Lois as a kid if you're interested in that.

Also like...a lot of Superman comics are going to have Lois in them and she often has a supporting role if she's not in a main role. If you read these comics and you like them, you can use them as a jumping-off point for getting into more Super comics which are going to have more Lois in them! And if you're hesitant to dive into the endless Superman ongoings, there are several retellings and reinterpretations of the Superman origin (like Superman Smashes The Klan) that tell the stories without being bogged down by the dense lore of the ongoings...Superman Secret Origins, Superman For All Seasons, All-Star Superman, American Alien, and John Byrne's initial Man of Steel comics from the 80s are some popular ones. If you do want to get into an ongoing, the current Superman series that started this year is good.

Let me know if you have questions or need clarification on something and enjoy your reading! Also if anyone with better knowledge of Lois is reading this please feel free to add on!

[imaginarianisms]

1 day i will make a meta of sansa's dynamic with her metaphorical champions/suitors & how that correlates to the ashford theory (i.e sansa being betrothed to joffrey baratheon, then promised to willas tyrell, then being married to tyrion lannister, then being married to harry hardying then married to aegon vi targaryen & aurane velaryon but it is not this day. lmao. when i make that meta it'll be so over for y'all.

[tomwambsmilk]

what's a professional way to say to a coworker 'I'm not sure why the fuck you're sending me this email because I'm just the messenger and have no power to resolve the thing you're complaining about and I know that you KNOW that so please explain to me what you expect the outcome of this passive-aggressive guilt-trippy email you sent me to be'

[olderthannetfic]

Writing about my favorite characters as transgender has opened my eyes to how many people in fandom are able to get away with actual transphobia without other people judging them for it, and after one particularly bad experience I feel like I can't participate in fandom without constantly having to check people's profiles and social media to see whether or not they might secretly hate trans people. The fandom I currently write for is relatively small compared to others, but somehow I still manage to catch a lot of casual transphobia, especially on my higher-kudos'd works. This didn't really bother me at first since most of the comments were misinformed but rather harmless otherwise, with most asking me to write a fic where the MC medically transitions to become their "real gender" as a sequel. Those comments were written politely, but the sentiment that a person's body designates their gender bothered me a lot. I specifically present the trans characters in my fics as pre-op or non-op without dysphoria in order to feel more comfortable about my own body, and I'm really tired of reiterating the reasons why I personally won’t create a fic where the MC undergoes a full medical transition. I would be thrilled if someone else wrote that, but it’s not a concept I have any interest in executing myself.

Usually the casual transmedicalism in my comments is my only real gripe about the attitudes towards transness in my fandom, but recently I joined a major fandom discord server and found out that they had a dedicated thread for bashing my work. (Well, to be more accurate they had a bunch of threads for bashing people's works, but mine had the most messages at the time.) I should have just left at that point, but I was curious to see if there was any valid criticism because honestly I don’t get a lot of constructive feedback on my newer stuff and I wanted to see if there was anywhere I could improve. Unfortunately, it was almost entirely just really hurtful comments, with many people making assumptions about my body and offline identity, calling me a fake trans person and a chaser for the things I've written. They kept going on about how I'm fetishizing transness, how I probably just wanted an excuse to write het smut with an M/M tag on it, how I'm probably not actually a trans man but an obsessed and misguided teenage girl instead. I've been on T for over two years now, but even if I wasn’t, their belief that all bodies like mine are basically "female" was really upsetting. Maybe I just happened to stumble upon a bad crowd, but at that moment I just really felt alone. I never expected to receive that kind of vitriol in such a small fandom - I have maybe like five or so people who follow my work closely, so it's not like I'm hitting super big numbers compared to others. I understand that my work might be dysphoria-inducing for other people, but I include warnings for language at the beginning of all my fics and I'm extremely thorough about tagging all the sex acts that take place. It's easy to filter out my work via additional tags if you don’t want to see it. But no matter how many measures I take to make others feel more comfortable, they still feel like I'm taking up too much space and mucking up the tags with my fanfiction.

Part of me feels like quitting after this experience, but I'm also a spiteful bastard and I think it would haunt me forever if I stopped now lol. I'm curious to know if you or any of your followers has ever dealt with a similar situation (as in, finding out there's a bunch of people who hate your work for shitty reasons), and if you have advice on how to continue interacting with others in fandom without constantly wondering if they hate me behind closed doors. I left the server already but I'm sure there's other things I can do that I'm forgetting. Thanks for reading!!

--

There will always be people who dislike you for silly reasons, and if your fic is popular, there will be a lot of them. The only way to deal with it is to just accept that this is normal and not think about them.

[thekingofwinterblog]

You know what the most annoying thing about the Twists regarding the Elves in Inquisition was?

That all the twists, if taken on their own, would make for a really good story.

The reveals about Solas backstory and how him and his fellow God Kings rose, became decadent, warred with each other and fell, setting the stage for their transformation into the Old Gods is frankly speaking, some of the best lore that Dragon Age ever had, and lines up really well with how the world is structured while explaining how the Old Gods came to be, how the elves fell, and so on.

That the tevinter imperium when it conquered the nation of Arlathan was not the great imperial state lead by mighty mages their descendants liked to think they were, but instead a bunch of weaklings that needed years and years to take on one, measly city-state that had utterly obliterated itself in civil war.

There is so much great stuff here.

So where did it all go wrong?

The answer, is of course execution.

Inquisition overall is a great game... But man did it drop the ball so hard with the Elves that it's pretty much hard to believe that they will be able to tell a nuanced story about them in Dread Wolf.

Everything from the companions, to the world itself as the game presents , to retcons regarding mages that's there, not to tell a story about the elves, but to try and make the Templar vs mage conflict grey.

Starting with the companions, we have a great example of coming so, so close to greatness... and then falling right on it's face.

The game has two Elf companions, solas and Sera... and the contrast between them really illustrates the big picture with how incapable Inquisition is with trying to tell a nuanced picture with the elves.

Solas as a character is perfect. Love him or hate him, he is a fully fleshed out character with very clear, defined, understandable motives that makes sense to him.

And most importantly of all, his way of viewing the world is WRONG. The game acknowledges that he is wrong.

The entire story of where dragon age 4 is heading, is all about how the Dread wolf, for all his knowledge and intelligence and genuine virtues, is at the end of the day, a monster, who is willing to see the world burn to restore the Elves magic and immortality.

He is a racist, he is bigoted, and ultimately misguided. Despite all his development with the inquisitor, he does not manage to grow enough as a person that he manages to abandon his genocidal goals. And the game does not pretend othervise.

That is what makes the story of Solas rise to become the big villain of the sequel great.

There is no disconnect between the story, the characters, or the way the game wants us to view solas.

Solas is far, far more bigoted and close-minded than any of the dalish he so despises, and the game ultimately does not pretend othervise.

Which brings us to the opposite end of the elf spectrum with Sera.

Sera is a very disliked character by a lot of people, but by dalish and elf players/fans more than most.

Just like Solas, she is bigoted, racist, and ultimately misguided in her hatred of her fellow elves, whether they be city elves, or Dalish, or ancient elves.

And that frankly, would not be a problem if the game acknowledged that fact. If her character arc was about it, and either how she could not overcome her own issues, or actually managed to grow beyond them, she could have been a great character.

The problem is the fact that the game is not willing to handle this fact head on. Its not willing to come out and portray Sera as just as bigoted against her own kind as Solas is, and to treat this as a flaw.

Instead the game treats her as if her biggest flaw is that she's annoying, and not the fact that in a game that is in many ways about setting up the rise of the dread wolf, she is just as bad as Solas, just from a different origin point.

Sera should have been a mirror to Solas, both from a story point, as well as a thematic one, but unfortunately she is not.

Hell, she doesn't really overcome her racism either. The closest she comes to doing so, is basically burning out on hating the dalish and other elves in trespasser, not admitting she was actually wrong to hate them so much in the first place.

The game does not treat Sera's disdain for other elves and their culture as a problem, and it does not give a dalish inquisitor the option to tell her to go fuck herself on the topic that you are given with Solas if you really desire to do so.

You are given the option of kicking her out of the inquisition, but not actually stand up for the dalish or even city elves the way the player could against Morrigan's flemeth raised cruelty in origins, anders and Fenris obsessions with, and hatred for templars/mages in da2, or solas ideals in inquisition.

And thats a problem that really illustrates the bigger issue with the way Inquisition took what could have been a great story about the Elves and the reveals about their anceators, and frankly ruined it.

The dalish and city elvea were very thouroughly fleshed in both Origins, Awakening and DA2.

However, city elves largely managed to avoid being utterly destroyed by the narrative the way the Dalish were, for the simple reason that outside briala, we don't get much if any interaction with them at all, making them essentially a non show foe the game for the most part. They don't get a city elf inquisitor, and so we have no point of view to look at them from a pc perspective.

They got off much better than the dalish though.

Starting off with the arguably single worst thing in all of DAI is the retcon that Dalish clans, if there is more than two mages in a clan, sends off the third one alone in the wilderness to fend for themselves. This goes against absolutely everything that has ever been established about the Dalish, and worst of all, wasn't even an addition meant to demonize the dalish, instead being an addition to handwave away the obvious fact that the Dalish had a much better system than the human circles when it came to magic... Which in turn was made irrelevant by the fact the Avvar was later shown to have a much better and more effective solution to the possession question anyway.

It was, in essence, a pointless retcon, that overall only made the dalish look bad, and has now opened the door for the idea that most dalish clans acts like this, and will be portrayed so in future games.

Its bad, but unfortunately it was only the start.

The game goes out of its way to portray absolutely every single person who critices the dalish as having a point, that they brought on their own downfalls, even as they are being the most imperialistic, racist assholes imaginable, while the dalish inquisitor can only offer a token of defence for his people, a far cry from way origins allowed you to handle the same situation wheter your main ethnicity was ferelden, mage, city elf, dalish, casteless or dwarven noble.

But nowhere is it worse than the way the game handles the fall of the dales.

Now the actual lore you learn about it, is not bad. At all. I know some complain that the reveals that ameridan(and presumably other elves) worshipped both the creators and the maker, as well as the fact that the dalish unfortunately did have a bad relationahip with the rest of the world, in particular orlais, is bad storytelling, but i firmly disagree.

No the problem is the execution.

Ameridan is not wrong when he says that The Dales should not have distanced itself from the rest of the world, especially not in the face of a blight... But the Dales of his era were in turn not wrong when they argued that the Orlesians were little better than the imperium, and they would be completely right.

This is not a grey issue, its a grey and black issue.

Orlais was, and still is an evil, expansionist empire with 99% of its population living as serfs, that can be raped and beaten at will, little better than slaves.

The dales were the morally right side of the exalted march on the dales. No amount of new lore we learned in inquisition has changed that fact. We simply get the details fleshed out a bit more to add context.

Orlais was going to invade and enslave the elves anyway, as they proved through their actions against all their other, very much fellow Adrastian neighbors.

The problem is that you are not allowed to express this kind of point of view and stick to it like steel.

The characters you meet having the bigoted opinion that the dales ultimately brought on their own fate is NOT a bad thing in and out of itself... the problem is that you are not allowed to challenge that opinion the way you could challenge Lelliana's view of the dalish in origins, or the way you could tell both Anders and fenris to go fuck themselves on their extremist opinions all through da2, and ending that fuck you by killing them in the endgame.

And thats a real shame, because just looking at characters like cassandra's character development through Inquisition, you could easily have made a really compelling narrative put of a dalish inquisitor who stuck by his or her principles, and actually challenged the people they met's racist views on the dalish the way you could in origins, just with a more fleshed out and(unfortunately something way too many people just cannot emote to a character withouth) an actual voice to raise those arguments with.

I do genuinely like Inquisition, and i think it's overall a much better game than DA2... but man did they drop the ball with the elves so hard.

I feel so sorry for anyone who really got invested in the elves as their favorites factions, and i honestly don't think the elves will be handled particularly well in Dread wolf, especially as the only Dalish we are likely to see fleshed out will be the villains fighting for Solas.

[deanscutiepiesam]

I can't stop thinking about that one post about how Lucifer should've been played by Jared when projecting the image of himself [this post, go read it. It's so good]. And I completely agree with them across the board. Sam, being his true vessel and the horrific impact it would have on him, would've been amazing to see explored. But I also think Lucifer should've been played by Jared because he was better for the character.

And I don't just mean this in an acting way, (though, I am biased. Jared has skills), but for the sake of the story and his likability. Obviously, we aren't supposed to like Lucifer, I don't, but I did like how he was written when Jared played him. Think of Endverse!Lucifer in his white suit. Telling Dean how no matter what, he'll always end up here. Think of Swan Song, where he was pleading with Michael. How Lucifer didn't want to hurt his brother, but he "left him no choice." He's almost oddly sympathetic, but then you have to remember he's literally trying to start the Apocalypse. He's manipulative. He's the devil. We've gotten accustomed to Jared's face being Sam, all soft and sweet, so that image being juxtaposed with evil incarnate is so powerful. Wolf in sheep's clothing and all that. Gives you chills.

Now compare that with Nick's Lucifer or even Casifer. Not even close (in my opinion, at least). I was talking to a friend of mine about this a while ago, but those versions of Lucifer don't even feel like the same guy. He went from an intimidating, genuinely scary, and interesting character to a "I'm so silly" comedian - and a weak one at that. And I know this was unfortunately because the show went the route of making Sam's cage trauma a joke, but why, though?? There was so much potential for Jared to play him, and even going the Nick vessel route, they could've written him not... like that.

And this isn't to say Lucifer can't crack jokes. I think, executed well, it could be funny and add to the horror. Supernatural has done funny bad guys before (like I personally enjoy Azazel's and Crowley's quips), and it works for them. But Lucifer just feels like a failed version of that. It doesn't fit his character, personally. And I know some people enjoy Nick's Lucifer and Casifer, and that's valid, but it just doesn't sit right with me. He loses aura points, and I don't enjoy watching him.

And once again, I know we aren't supposed to like him, but it's not even a dislike because he's a good villain; he's just annoying. He comes on screen, and I'm not scared or anxious, I'm annoyed. And it's frustrating because they did so well with him in my Jared examples. And not only that, it could've been a foundation for later seasons. (Imagine Sam!Lucifer doing the misunderstood guy facade to get Jack on his side. Like come on, we were robbed.)

Anyways, I don't know... I just had to get that out. Not sure if I made any sense, but I'm gonna trust I'm coherent enough for you to get the gist of it. Shout out to well written Lucifer. You will always be famous. I hope you die — oh, wait...

[weaselandfriends]

Praise for When I Win the World Ends

i have zero interest in or knowledge about this franchise and i begged the author for months to write something else instead, and thankfully they ignored me. the pacing and action in this story is unmatched, every little fragment of it feels necessary and important. the best fanfic of the decade. nobody else online is writing stories like this.

—gazemaize, author of Chili and the Chocolate Factory

As someone with relatively little interest in or overlap with competitive sports it helps me understand the appeal in a way I didn't before... You've managed it again, you've added so much significance to the core franchise that it's transformed into something else entirely. The concept is already extremely good, but seeing it executed this well has me in awe.

—pigoseg, author of Savannah

I'm going to give your story the exceedingly rare honor of me having to force myself to stop reading it to do something else more important, the only other book that's done this is Project Hail Mary... This, is good. This combines my interests with competitive singles pokemon with a genuinely heart wrenching story of 3 people at the top of their game for completely different reasons, and how those reasons cascade when confronted with failure or adversity beyond comprehension.

—Elick320, self-described disliker of Fargo and Cockatiel x Chameleon

i'm genuinely unsettled by how good the yuri is and i'm assuming you're a secret lesbian

—julirites, author of London

Unfortunately, The New York Times wasn't interested in doing a review, so you'll have to settle for these quotes from people I know.

[thesublemon]

best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2  or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie. 

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say. 

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like. 

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.) 

[capybonara]

More personal thoughts under a cut

I’m not trying to think about the other day’s rude message but here I am trying to get my thoughts in order. I was vague in my last personal posts because I want to air out my grievances but not in a way that spreads negativity. But for clarity's sake, this message was a private tumblr dm from someone who didn’t follow me. Like, I think they felt they were trying to be helpful, but everything about it screamed "passive aggressive I-know-better-than-you" energy. And the implications it had is what I keep dwelling on; that my characters in my friends comic are/will be terribly written. And I’m like THAT'S MY WORK, THAT’S OUR WORK 😤 and that’s when I spiraled with thoughts like “oh so people who viewed the comic disliked them the whole time? Are my contributions/ideas that bad?”

I've been talking with @semirampant-dwickery and @smackins about this, and how these collaborative projects with zora characters reminded me of CDN. For context, that was a mass effect RP forum I was part of that focused on the lives of OCs. @werewolfsister added this nice response to a comic of mine, and all of this got me thinking about past projects and the kinds of things that worked, did not work, and the troubles we had in the forum.

The basic definition of a collaboration is a project between two or more people to work to create something. Using my own experiences, it was common courtesy to ask others if they were interested in joining in on a project/story. After someone said yes, we started talking about our characters to give each other a basic insight on their personalities, and hopefully we got a rough outline of the idea we wanted to execute and then wrote it out, drew scenes, or both!

The roadblocks I've come across are sometimes characters (and people) don't mesh well. Their ideas might not vibe with mine, and vice versa. As an example, I really enjoyed a lot of slice of life scenarios and many others wanted to do action related plots! And try as we might, a middle ground couldn't be reached so while it was a shame, no harm no foul! The community had mods to keep the peace, so if someone went too far with crossing lines they were given the boot!

You never want problems but at times they happen regardless. One example for myself involved a former writing partner who didn't want to do any work, but they still wanted the rewards of the end game. We talked about developing a ship between characters, but they didn't want to work on the in-between details. Details like first meetings, going out on dates, the realizations, etc. It was difficult to push anything along, and their personal end goal was for our characters to have sex (I guess in accordance to mass effect tradition of “we’ll bang, okay?” haha). I didn't feel comfortable with that and wanted to have the characters build a rapport first. Despite asking questions about their OCs, it usually ended up like this:

“Let’s start with something basic. What’s your characters fav thing to eat” “Your character 😏” “Ew dude cmon” “Lol I dunno, just food”

 which made me go AUGH! 😂😅

So, I started chatting with other forum members who were more than happy to brainstorm and make ideas happen. My character started making friends with other OCs, I joined other threads, but my other writing partner was feeling left out. And I sympathized because I wanted to work on the ship, I wanted them to feel included. Every time we talked though it was like hitting a wall. I was slowly getting the impression they didn't want to write. But they sure didn't complain with the art I drew of their OC! 

There’s a lot of details regarding that experience that's still ick to discuss openly. In the end, they unfortunately got banned for their behavior and it took a while to recover from it.

The happier side was, in time, I began collaborating with other, kinder people again. But after bad experiences I learned how important communication was. My characters got to engage in all kinds of adventures because all people involved were willing to talk. I learned it was important to let others know that I wanted to join something. I couldn't sit in my corner and hope someone noticed me. It was hard, and it still can be now because I'm shy, and bad experiences make me wary to try again. Though later I found out everyone I worked with had the same anxieties so we would discuss how we can help fight those insecurities. @smackins and I would build each other up to make posts because we were so worried we came off as dumb or annoying. And sometimes that's all you need, a little support and the courage to speak up. 

@semirampant-dwickery and I ran into each other by chance via an “in character” argument and his OC challenged mine. Originally, I wasn't going to accept because I was scared and I thought it'd just annoy him. Whenever we talk about it now, he always expresses how happy he was that I accepted his offer to write a thread with our characters meeting. Said meeting ended up being one of my favorites, a lot of improv that included musicals, a hologram room, feasts and a hammer to his OCs face xD

Werewolfsister’ss response to my comic got me waxing sentimental! This method of collaborating is a little different from CDN because it's more art focused but the same process applies. You chat with folks, you work on outlines or do fun improvs on the fly!

The other difference I noticed is how small cameos can turn into stories of their own!  Characters who appeared in her comic regularly are usually because communication continued between people. Some surprise art pieces prompted other people to reply with their own art. Like werewolf’s response said, it's how we ran into each other! I remember a few months back they were asking folks if they had diplomat characters they could include in their comic, and originally I wasn't going to join because of my own anxiety. But I realized nothing ventured, nothing gained, created Kaska and said “here's my submission!”

They later sent me a message asking if the zorca could participate in assisting other characters in a scene, and asked me questions regarding scenarios, and I answered to give an idea of what they could or couldn't do. I was excited for even the smallest role xD so when they asked more questions I gave more answers and ideas! The person who sent their “warning” to me the other day made an assumption my characters were being controlled by her, but everything dealing with them has my hand prints on it as well. Like with my friends on CDN, I offered suggestions, helped when they hit a roadblock and asked if I could contribute with my art!

Thinking on CDN, I know the roadblocks I personally hit was the lack of communication between parties involved. Like with my writing partner who didn't want to help do the work. I ran into others who came and went and the one complaint that stuck out for me was how I formed a “clique” with semirampant-dwickery, but the thing was, I sought their help the most because I knew they were fun and easy to speak with, and they helped me when I hit my own roadblocks. They proved to be a trustworthy and supportive partner! So of course I worked with them often! He’s done so much to write stories to get other members involved. 

I've received messages years later from people who admitted they made assumptions about us, and how anxiety kept them from joining our threads. I still grieve over those missed opportunities at times because I personally thought they were heckin cool! It is what it is though 😔

Because of those experiences and how difficult it can be to organize projects; I want to give werewolfsister praise for their hard work, their positive attitude, and welcoming presence. It's not easy communicating with a number of people, making outlines for the plot, and then drawing a comic where I've literally witnessed you dish out TEN+ PAGES A DAY. And you've been doing this since MAY! It's a lot of things to juggle alone. 

To the casual onlooker, it might look like a simple project with guest appearances she has full control of. But cameos remain cameos unless someone speaks up and offers more info and help. And characters who've had longer appearances were all discussed with her in chats; from permissions, to story outlines and boundaries. I've had the privilege to watch and be part of these discussions 👍 

I kept thinking about disengaging from the zora community, because of how that message had me focusing on the negative. It was one harassment message but honestly that's enough. I know why it came about, and I hate how that kind of negativity made me want to cut off from everything. Wanting to isolate is my knee jerk response because it made me paranoid. Who else am I upsetting? Who else will send more “warnings?” I'm an old millennial, I'm not here to have beef with strangers on the internet.

The paranoia has been an issue for me and that message “cemented” some other worries I had. For example, I made a previous post asking folks if they had characters that played instruments, then tried to clarify if anyone would be okay with their OCs interacting with Cironus. I got a few responses, but the tumblr dm responses I received, however, were details of who not to associate with, along with a fatphobic remark about Cironus. It left me feeling on edge: one wrong move from myself or my character, one piece of art that didn’t depict every detail correctly, and I was guaranteed to set something off.

I understand there are folks who have extremely personal connections to their characters, and I sympathize and respect that. And for the sake of everyone’s mental well being, I’m going to avoid them. Characters carrying that level of weight need complete control by the creator, and collaborating with others by definition means you have to relinquish some of that control. It requires that you retain a modicum of trust that other players are acting in good faith and not out to ruin your character. No one else gives over that control but you.

Collaboration is about trust, communication, and teamwork. CDN thrived when people came together, but if someone didn’t find the idea appealing, they chose to go solo and found other outlets. I came to this community with the hopes of creating stories with others. And if they don’t want that, like it was with the forum, we move on.

I know we can curate our spaces so we are surrounded by the things we enjoy, and choose to be around those who are supportive and understanding, but I’m not feeling very confident about finding more folks to work with. That’s not an invite to say you want to either. I need to think, and writing this helps me think. My original plan was to post about my zorca and Cironus to give what audience that's out there a better idea of my characters. 

As I write this I realize what I’m tired of is having to set things up like I’m preparing for an audition. I just want to draw, I want to include people and make them happy with the things I draw. This is a hobby I’m trying to have fun with. Outside of my friend group, I don’t think I’ve been able to casually share ideas about my characters with other people. I want to be seen, and connect with others. In turn, that usually became a chain of helping others feel seen too.

The negativity makes you feel powerless at times, but we have the ability to build the kind of communities we want. It takes time, it takes people you trust. I don’t want to say “be the change you want to see” because to me it always implied you have to do it alone. And we don’t.  CDN had a set of rules when working with others that allowed the community to last for years, and the one I try to follow the most is don’t be an asshole. Be kind, be respectful, uplift others when you can, and when you take, give back to others as well.

[thesauce8]

I don’t solely dislike Sasusaku because he tried to kill her, and if Sasusaku was a well written ship, I wouldn’t have any qualms about that attempt because it would’ve been properly addressed and executed. Unfortunately, they’re poorly written, so the fact he tried to kill her only brings it down more. That’s why him trying to kill Sakura hurts the ship, while him trying to kill Naruto has less of an effect.

[zomgi]

╰┈➤Male! Danganronpa x s/o reader PT2

NOTE: I've been spending more time playing DV3 so I'll probably do more characters from there. I might also start another one of these but with female characters

WARNINGS: Spoilers for character deaths, ect.

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▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀

✰Shuichi Saihara:

•Definitely noticed you first

•Was too shy to actually talk to you

•Kaede had to force him to talk to you

•Was prolly very awkward when interacting with you at first

•Eventually worked up the courage to ask you out but you beat him to it

•Doesn't mind PDA, just gets really flustered

•Doesn't get jealous easily nor is he necessarily clingy, but if you don't pay attention to him and spend more time with someone else then he'll get a tad bit jealous and will do anything to gain your attention

•Listens to you everytime you rant, even if it's something random

•Remembers your birthday and likes/dislikes

•Still somewhat quiet but talks way more than he usually does

•If you want to be a blackened or victim/your OC is a blackened or victim: he would ANYTHING to prove your innocence and would break down after your execution (if blackened), if victim, he would look at your motionless body and not say a word, would do anything to find your killer

✰Keebo/K1-B0:

•You noticed him and were very curious about him

•Prolly accidentally mistook one of your comments on him as robophobic

•Realized he felt a unusual way towards you when you defended him again Kokichi

•Because he doesn't necessarily understand the feeling of love, you had to be the one to initiate things

•Flustered easily

•Is fine with PDA

•Prolly loves when you hold his hand

•Gets jealous only when you're with Kokichi because of his obvious dislike towards him

•Remembers your birthday and likes/dislikes

•Listens to whatever you have to say

•If you want to be a blackened or victim/your OC is a blackened or victim: Couldn't believe it at first, wanted to be alone after your execution (if blackened), when he saw your body he couldn't even look at it, he refused to investigate near your body (if victim)

NOTE: I unfortunately only had the energy to write two characters this time because I wrote this at five in the morning and I am tired. I will try and write more characters next time

[nagarashi]

Always resented the way Logan was treated in Fable 3, didn't you?

Long post ahead...

Fable 3 has always been an example of controversy, at least I used to stumble upon it all the time. Some branded it a disgrace, while others said it wasn't that bad because of the potential it had, which unfortunately was never realized.

I've always been on the side of the second. Just recently I settled on a marathon and went through the entire trilogy. Just like the first time I was "burned out" from that missed potential. In particular I am always saddened by the king - Logan.

For me, Logan is pretty much the only character I really feel sorry for and care about in Fable 3. Yeah, even Walter I feel pretty cold towards.... but that's partly because I'm on the King's side from the beginning of the game, even though they try hard to turn me against him (which is what turns me away from the other characters). And it's the reason I really dislike the Hero (Princess in my case), she's blind, infantile and driven, she doesn't think with her head (probably like all the Heroes in the fable).

The game does our brother one hell of an injustice. I felt it especially strongly when I finally played Fable 2 after many years. The faceless queen (in my case Sparrow Woman) mentioned in Fable 3 suddenly took on a face for me and became something important... I know what she was like and what her life was like. And I'm sure she would have loved Logan, because she was deprived of parental love early on, and didn't want brother and sister to be against each other, because she lost her sister, her only sibling, at a young age.

Logan was the firstborn son of Sparrow and as the firstborn, the eldest, all expectations were to be placed on him, everything was to be left for him... What does the game tell us?

The game does, however, show and give the impression that Logan was some sort of outcast in the family. And for some reason, the Guild seal was supposed to go to the youngest. You say she's a hero? What was her Heroic talent until she got a gauntlet to use magic? Broke sword in training? I may be biased, but I have a feeling Logan has broken more than one sword in training as well.... But for some reason, all the excitement goes to the youngest one.

Speaking of magic, it used to be used without any gauntlets, does that mean that it weakens the blood of Heroes? That would be... logical. That's where Reaver and his still strong bloodline would come in handy, lol.

Back to Logan. Not only was the seal not for him, but for some reason, even in the Sanctuary, the note from his mother was left for Jasper, not him. What?!

There's a strong and unpleasant feeling of ignoring the fact that Logan even exists. Why does he deserve to be ignored? From a game perspective, I understand that it demonizes our brother, but from a logical perspective, I don't see how it's justified, at least not when it comes to things involving family.

That and the way everyone hates him only made me get more attached to him.... and the fact that he's the closest thing we have to family. You can't just walk away from that fact, giving in to calls for a stupid revolution without even trying to talk to your brother before doing so. Was the princess angry with him? That anger is some kind of unfunny joke. She didn't care about her brother, why should she care about some random dudes she's being asked to execute?

The game shows that even the sister didn't care about Logan. She doesn't notice the changes in him (which by the way even Elliot notices, in my case) and doesn't even try to talk to him to find out what's going on.

And as if that wasn't enough, when we get to a certain point and find out the truth of what's going on with our brother, why he's changed so much, instead of talking to him in person, for some reason we let Walter take him away and have a trial where all those bloodthirsty critters from our allies come out when they wish Logan dead (except Page, surprisingly, I don't like her, but she shows a lot of common sense at the trial).

On top of all that, Logan has seen with his own eyes what Crawler can do, he saw the deaths of all his men when they faced the Darkness for the first time and subsequently experienced the horror that Crawler is capable of, and we have seen what he can do through our example and Walter's. He brings out the deepest nightmares.... Now imagine facing the death of your home, your people, your family, the one person you care about. And then with the knowledge of all this you come back and try to tell people the terrible truth, but they just think you are crazy, you are powerless to convince them. But the sheep have to be saved from the wolves, no matter how stupid they are.

Logan obviously has severe PTSD after the incident, recurring nightmares and obsessive thoughts of what will happen if he fails? Thoughts that he MUST succeed no matter what. Wouldn't that drive you crazy?

It makes everyone think you're a monster and hate you..... Imagine what it's like to live under that kind of constant pressure every day? And then your dearest person, your flesh and blood, goes against you... It's like the last drop to break the stone already broken by despair and depression.

I don't know how Logan can be executed at the end of the trial. Personally, I've never done it, although I watched that scene on youtube for the sake of interest. It's just horrible in my opinion... It's so soulless. I love playing Fable as an evil character, but even by my standards this is just too much... Logan's execution isn't evil or even justice as the crowd screams, it's murder besides being very vile, even for me.

I really dislike that at the end, when he leaves, we aren't given a chance to stop him. He will always be a brother to Hero and they will always need each other. Anyway, after everything that's happened, I wish Logan was by my side so he could finally have peace and love instead of hate and despise. I don't want him to wander the world and die in an unmarked grave somewhere.

P.S: I always liked the moment at the trial, when all those who were crying the whole game, what victims of Logan's cruelty they were, immediately turned into a pack of vicious dogs, as soon as they felt the power and opportunity to grab Logan's throat with no punishment, literally siccing you on your own brother.

P.S.S: Screw Teresa, I hate you for what you did to Sparrow and her kids.

[rendoa-blog]

So I wrote something.

Something about Sans during one of his first few days in Subnautica.

Something short (415 words) that was meant to be like, at least 200 words longer, but I forgot about the Aurora check-ins so I couldn't make this man have a mental breakdown over an explosion out of nowhere. @ancha-aus I hope you enjoy either way ig, I am better at drawing than writing though </3

I planned this out and everything too :( but nooooo because we had to have Aurora check-ins 😒

Sans just needs to go over his plan again and then execute it. It's fine. He has limited time, according to his pda. It said a quantum detonation might occur, but he lets himself hope thats not the case. He can do this, he knows the ship. He just needs to go in there while avoiding the Leviathans. Then he needs to get the things he left behind during the panic and check how many people left with the pods like him. He should also try to connect his pda to get the locations of those pods, and collect as many blueprints from the ship as he can if he has enough time. He can't really know how many of them would be useful but anything is better than nothing, so he gathered himself and climbed up the ladde-

________________________________

Sans is... prepared. At least he thinks he should have everything needed? He has his scanner and his pda on him at all times. He found an entrance to the Aurora, even if it's partially buried, but that's not an issue for him since he just sinks and doesnt need air. He knows how to avoid the... He quickly checked his pda for the name of the leviathan. Reaper. Those. He learned how to avoid the Reapers, mostly. Even if he dislikes the idea of it, he knows the basic knife he made for gathering samples can harm them if they get to close for comfort. He has a few... pleepers? Perpeeps?... He just sighed and checked his pda again. Even if he finds other survivors like he hopes he will, he will still need to know what these things are called, unfortunately for him. Peepers. They're called peepers. He caught and cooked a few of them in case his magic got low, since it tended to do that since they crash landed and it's starting to get annoying.

"Warning. Local radiation readings suggest the Aurora's drive core has reached critical state. Quantum detonation will occur within two hours."

...Shit. There goes all of Sans's time. Two hours. He can't do it in just two hours, especially not if the radiation levels in the Aurora already reached such highs. He doesn't have the blueprints for the radiation suit and with his low hp...

He's just going to need to hope that anything that's useful will survive the explosion.

...And that he figures out how to make a radiation suit before the lack of it kills him.

[aspoonofsugar]

you wrote such a beautiful rwby analysis but unfortunately I think you put more thought into the plot than the entire writers room

Hi!

Thank you, I am happy you found my analysis beautiful!

That said, I am sorry, but I disagree with your statement. It is fine if you dislike the series and even if you criticize it, but as for me, I think the writing is rather strong.

Here are some thoughts, which aren't really directed at you, but rather are born by me seeing a tendency going around where it is somehow "cool" to outloud state RWBY is badly written. I even saw people like... "apologizing" because they enjoy the series. Newsflash...RWBY is good.

RWBY is a series with a writing that goes from decent to very good depending on the moment. I would give it from 7 to 8.5 or even 9 in some scenes. More importantly, it is a story the writers are clearly enjoying writing, as for now. This is why I like watching it. It is genuine, upfront in what it wants to say and it takes risks. Ironically, a series with limited resources shows much more freedom in execution than many other stories, which are economically backed up.

I would also add people keep talking about good writing, but never really elaborate on it... And like, trust me, I do think there is good writing and bad writing. The problem is that people just take examples of "well written series" and decide a series written differently must be bad. This isn't really the case.

First of all, let's focus only on a specific type of story, which is the kind most modern movies, books and series are. This type of story is built on 3 (4) factors:

Plot

Characters

Themes

(Worldbuilding)

I would say the first 3 are more important usually, but there are some stories where the worldbuilding is so strong it becomes its own selling point.

Now, a good story is usually strong in all these departments. The perfect story is top notch in all 3 (4). That is because a good plot usually lets you develop the characters better, which in turns helps exploring the theme.

However, here comes the amazing truth... even the most incredible stories. Even the masterpieces loved by everybody... even them... end up choosing only 1 or 2 of these aspects and sacrifice a little bit of the 3rd (and 4th) one.

Naoki Urasawa's Monster? Its focus is themes. He chooses to go all out on this department, which is why the story is so powerful and resonates so much with people. Still, to do so, he chooses to sacrifice some parts of the plot to the point... some mysteries are not really solved. Some people may be annoyed by it, but I would not call it a flaw. It is a choice. Leaving some things open enriches the themes.

Death Note? If the story has to choose between characters, themes and plot, it goes for plot. This is why despite having so many well liked characters, it is difficult to think of outstanding character arcs in it. The same goes for the themes, which are only touched superficially. This is why btw Death Note is not a fave of mine, really.

Now obviously, many examples can be done and we could discuss forever on some because there is always always always a subjective component. What I am trying to say is... there are different ways to write a story. Not all people would like the same. Luckily, we have tons of stories.

Back to RWBY. I would say RWBY shines when it comes to themes. Characters and plot are good and interesting, but what keeps the story together, despite it playing so much with genre is that it has a very strong thematic core. You can't invent it or fake it btw. See, Death Note's author tries to do it in later works (Platinum End cough cough), but fails. At the same time, there is another department RWBY is top notch and that is symbolism. RWBY has a very rich symbolic system. Again... surely there are coincidences, but like this is a little bit too much...imho.

Now, does it mean, the writers came up with all the patterns I and others find? Probably not, but here is the thing... writing has an unconscious component. If you go earnestly at it, you are bound to unconsciously create patterns. A good writer is able to recognize them (either consciously or unconciously) and to capitalize on them. So far, I think CRWBY has capitalized on the patterns they created. I also think it is clear they are very good at researching and at playing with different sources by going deep into them. Again, you can't come up with the Ever After if you have not read and even studied Alice in Wonderland. It is just impossible. You would end up with a shallow and uninteresting copy cat. The Ever After isn't that because it is used to explore themes, characters and lore in an interesting way. Hence... ladies and gentlemen... it is a fruit of... good writing.

But really, since people are not commenting on it... I would like to point out that in 5 episodes of less than 20 minutes, they have managed to introduce a whole world, with its own lore, set of characters and main story (Alyx's) and to tie it to the protagonists' predicament in a way that hits really hard thematically and psychologically... To do that you need exceptionally thight writing... it is not that simple to do...

Anyway, have a nice day anon and consider watching something else. Thanks God the world is full of stories!

[inexplicifics]

Feel free to ignore this if it’s something you plan to show in a later fic, but I find myself desperately curious about how the Accidental Warlord de Roggevens are handling the conquest of Redania. I assume based on their Wolfblood counterparts and the fact that Marika’s story mentions that they’ve fallen out of favor with Tretogor that they aren’t on the list of nobles who knew about Aren or Velen and thus must be executed, but they were so resistant to even acknowledging the possibility that Redania could fall, they can’t be pleased to be living in the Wolflands now. First Marika’s marriage, which they had no hand in and weren’t invited to, and now this? The Duke must be apoplectic! Inquiring minds want to know! (Inquiring minds are craving schadenfreude, more like.)

They absolutely were not on the list of nobles who knew about Aren, so they're not on the "kill on sight" list. Unfortunately, they are on the "the Wolf genuinely dislikes these people" list.

Which means that I honestly have no idea how that's going to go, and at some point I will have to figure it out. Probably at the same time as I figure out what's going on over in Lettenhove.

Honestly, if the de Roggevens keep their heads down and don't do anything too stupid (doubtful but possible), they might get to keep their heads & lands & title. But some of that is up to new King Dawid, who is one of Milena's friends and might well have Opinions about her parents. We shall see, I suppose!

[wearethekat]

August Book Reviews: The Scum Villain's Self Saving System by Mo Xiang Tong Xiu

Finally gave into the collective peer pressure and picked this series up. Terminally online Shen Yuan gets so wound up about a particularly bad webnovel that he actually dies mad about it-- which unfortunately transports him into the world of that very same webnovel. And even worse, he's inhabiting the body of the scum villain Shen Qingqiu, who's written to be horribly murdered by his beautiful but vengeful protege, Luo Binghe. Can Shen Yuan manage to change the plot enough to avoid his second untimely demise?

As Robert Graves said about Shakespeare, unfortunately this IS as good as they say it is. I'm lying on the floor and wailing. I'm gnawing on the drywall, I'm clawing the bars of my enclosure. This actually isn't a book that's pandering to Me, Personally-- in fact, it has several tropes that I generally dislike. But it's so pinpoint perfectly executed that I don't care.

Bonus points for the writing of Shen Yuan as Shen Qingqiu. I would hesitate to call him oblivious or dense, as that doesn't really do him justice. Rather, Shen Qingqiu perfectly and athletically backflips over any possible correct conclusions, while simultaneously maintaining the unconscious airs of a born coquette. The little fan…. Meanwhile, the narrative is remorselessly maneuvering him into the Plot Situations that were previously inhabited by Luo Binghe's innumerable love interests. Further kudos for masterfully executing Chekov's Fuck or Die and operating solely through the POV of a character (Shen Qingqiu) who unreliably narrates every single emotion he's ever had, the filthy liar. Shoutout also to poor Luo Binghe, who is a very nice young man being tormented by the most horrific crush ever suffered.

A note on the translation: The text has been translated into English, but I didn't find it obtrusive at all. It's distinctly translated, but the only thing it trips up on a little is the very colloquial terminally online phrases, which can read a little clunky.

Scum Villain is very much its own thing, but I'd recommend this book to people who loved the high drama of CS Pacat's Dark Rise or the irreverence and hijinks of Rowland's Running Close to the Wind. An acquired taste, but I had an absolute blast. I love romances where the MCs not only both have something very wrong with them, but genuinely like each other.