#everyone has their own opinions and that’s fine

[nostalgebraist]

Thanks for this thoughtful review!

(BTW, for others – this is probably obvious but there are spoilers below the readmore, don't click unless you've read the book)

I'm going to use this as an opportunity to talk about one specific thing that bugs me about some reader reactions to my stuff. Therefore, most of what I say below will be negative (about your review), but I want to emphasize first that that's not a reflection of what I thought of it overall.

----

What I'm here now to talk about is this kind of thing:

There are parts of all his books, where I really think that the explanation for why they are the way they are is that they are "bad on purpose", and all the bullshit [note: in context "bullshit" seems to be meant as a neutral term for non-realist elements -nost] is a way of turning these shortcomings into strengths. The self-effacing voice which whispers that the characters aren't sufficiently well-drawn, are too cartoonish—well, what if that was the point? What if there was a reason for that, in the story?

And like... okay, there is sort of a sense in which this is true, sometimes, kinda. There is a grain of truth to this; it is getting at something real.

But it pains me to say that, because I don't want to encourage this kind of reading. Interpretations like this are occasionally correct but IMO they're much more common than they should be. IMO the right intuition is that this is a galaxy-brained, contrarian sort of take, a last resort you land on when you've ruled out everything else.

And not just with my work, with everything – I'm simply more aware of the problem when it comes to my work, because I wrote it and I'm aware of why I actually did things the way I did.

I've said this before, but watching the way that people react to my own fiction has been an eye-opening experience, one that has taught me things about reader (and viewer, etc.) reactions in general. Specifically, what I've learned was:

People's tastes are way more diverse than I had realized (before I started writing and sharing fiction). And they are diverse in a very fine-grained way; even if two readers have the same preferences about 90% of stuff, or 95%, they'll still diverge on some things. While it's not literally true that "every reader is a unique snowflake with a preference set that no one else shares," that is a very good first approximation of how things are.

Readers (including me!) have been trained by a lifetime of reading book/movie/etc. reviews to frame their preferences/reactions in a pseudo-objective "this is just how it is" way, like their own tastes have some special viewpoint-independent priority, a quality of "reality" or "accuracy" lacking in everyone else's tastes (which are all different, cf. 1). And this is not just a stylistic quirk of the way people write about fiction, it actually (IMO) feeds back into the underlying opinions behind the written commentary. It degrades people's ability to understand what it is they're looking at and their ability to make accurate inferences about the process of its creation.

----

Here's a sort of cartoonish schematic of the type of experience that led me to draw these conclusions. (And I suspect this is not just a thing that happens to me, I imagine it happens with any sort of work that "contains a lot of different types of stuff" the way mine does.)

Writer makes something that has X and Y and Z in it. Writer thinks X/Y/Z are "great tastes that taste great together." Writer is very pleased with the result.

Reader 1 has similar tastes to writer, says something brief about how they loved the book and it's a new favorite for them.

Reader 2 loves X, is OK with Y, hates Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to X and not messed things up by doing so much Z.

Reader 3 is the reverse of their predecessor: they hate X, are OK with Y, love Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to Z and not messed things up by doing so much X.

Reader 4 loves X and Z – but they hate Y. They write a lengthy… you can fill in the rest. Imagine a whole bunch of these guys (readers 5, 6, etc).

Reader 17 has the same tastes as Reader 2: loves X, is OK with Y, hates Z. But their lengthy review takes a different, in some sense "more charitable" angle, speculating that the inclusion of Z was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet X.

Reader 18 has the same tastes as Reader 3: hates X, is OK with Y, loves Z. But, they explain, X was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet Z.

Writer reads all these reviews and feels strange, dizzy. The "nicer" reviews like 17 and 18 are actually more uncomfortable to read than the "meaner" ones like 2 and 3.

"I don't know how to convince you guys," Writer thinks, "but I... I just liked all of it? I thought it was good? That was why I wrote it? (Why else would I have written it?)"

----

Or, as I wrote in that previously linked post from 2021, w/r/t TNC specifically (and making a slightly different but closely related point):

Some people say X was the worst part of TNC, some people say X was the best part. The story was a celebration of Y; the story was about how Y is laughably futile. It’s a letdown that we were never told more about Z; the reason TNC is good is that it leaves stuff like Z to the imagination. It was obvious we were meant to believe P; it is obvious we were meant to believe not-P; the ambiguity about whether P is tiresome literary masturbation; at least the story didn’t jump the shark by spelling out whether P! The reason people like TNC is, of course, that it has A, although nostalgebraist insisted on putting B in there too because he hasn’t fully perfected his formula yet / he somehow thinks B is good even though it isn’t / he thinks it’s funny how bad B is (but the joke tires). …and then someone else has same take, but with A and B flipped.

This exact sort of thing is of course happening again before our eyes with reactions to TAoHS.

I've encountered multiple readers who disliked most of the story but felt the ending (sort of) "redeemed it," and I've also encountered multiple readers who liked the story up until the ending but disliked the ending (or at least thought it was worse than the rest) – to say nothing of the many readers who liked (or disliked) the whole thing all the way through.

And this ending-related stuff is just one particularly obvious facet of a broader diversity in the overall reader response.

By now I know not to be surprised by this stuff, and even to find it kind of fun to watch... but I have to admit, it is still a dizzying and uncomfortable experience.

----

Now, as I said, it is sometimes true that things really are "bad on purpose."

But I think the interpreter's default hypothesis – which should be maintained by default unless convincing evidence against it can be brought forth – should be:

The writer thinks that the thing they wrote is good. They think the ideas are good and they think they executed them well. And they think this more-or-less homogeneously for everything in the work – there are no "bad but unfortunately necessary" parts from the writer's POV.

(At least, this should be the default with works that aren't making the writer much/any money. Obviously things are different with lucrative commercial fiction; there are plenty of well-paid hacks who know they're hacks and do it for the money, etc.)

Why should this be the default? Multiple reasons.

First: it takes a lot of effort to produce any sort of creative work. The writer thought that effort was worthwhile, for some reason – why?

The most straightforward explanation (and a very common one IMO) is that the writer simply believed in the thing that they were making. They believed the effort was worthwhile because it would yield a good product.

Second: as a writer you have an immense amount of freedom. It's difficult to overstate the extent of it. You are playing God, you decide the way that literally everything will be.

Obviously there are some constraints, cases where one part of a story will imply the existence of another or whatever.

But it's very rare that you actually get forced into "doing a thing you know you are bad at, badly." After all: why do that? No one's forcing you! Just do something else! You're God, you control everything!

(Note that this applies also to the very act of writing anything. No one is forcing you to write at all. If you can't come up with good ideas, nothing prevents you from just not writing your bad ones.)

Third: at least in my experience, "playing God" in this way requires a certain state of mind, a certain boldness and self-assurance, which is incompatible with thinking "yeah this is gonna suck but I have to do it" – but is very compatible with thinking "I am making something excellent and every part of it is excellent, hell yes."

Fourth: because of the previously noted diversity of reader preferences, it should not be surprising to any given reader that they find some parts of the work much better than others, even if the writer thought it was all excellent.

This outcome is predictable from the X/Y/Z stuff I talked about above. No clever interpretive work is required to explain it; it arrives pre-explained; it's simply what happens by default.

And finally: because, as I noted above, I think all of us are infected with "reviewer brainworms" and we need to be mindful of this fact.

(Just to be clear, I am not accusing OP of being more infected with said brainworms than anyone else; I'm still on my soapbox, giving a generic rant about a general issue, with OP as merely a jumping-off point.)

We've grown accustomed to the casual conflation between our own tastes and some (usually hazily imagined and under-theorized) sort of "objective, ideal artistic standards."

Outside of a few edge-case eccentrics who can be ignored for my present purposes, we do not do this because we've become intellectually convinced that

(a) such objective standards make sense and really "exist" or at least really matter and

(b) they just so happen to match our own preferences.

Rather, we've fallen into this habit because it's what the pros do: there's a standard style that professional critics and reviewers write in these days, and that style implies these stances. And if one writes (and thinks, in one's inner monologue) in this style, one can easily fall over backwards into uncritically believing (a) and (b) for no better reason than "I seem to already be talking as though I believe these things, hence it would be simple and convenient if I really did believe them."

But – even if we bracket the philosophical questions of whether (a) is in fact true, and (if it is) whose tastes in particular ought to be elevated in the way (b) presumes – even if we table all that for another day, still we ought to keep in mind how weird and audacious a move this is, this simultaneous assertion-without-explanation of the (a)+(b) pair.

We've gotten used to it by exposure, because "the pros" have normalized it. But in actual fact it is a pretty wild thing to just go and assume, given the X/Y/Z/etc. diversity of actual opinion!

If (b) is true for you (general "you" not OP), then it can't be true for me, because we're both unique snowflakes to a first approximation; indeed if (b) is true for you then (to a first approx.) it is only true for you. No one else's tastes have this magical relation to reality, just yours.

Holding the belief (b) about a given reviewer is conceivable-but-wild if we're only considering them in isolation. But once we bring a 2nd reviewer (with non-identical tastes) into the picture, who also believes (b), it's literally impossible to maintain that both of these people are fully right.

And then of course in real life there are not 2 but many, many readers out there, all of them unique snowflakes. And, while it is socially normal in our social context for each one of them to write like they're the chosen one blessed with that special (b)-magic, if you read enough such writing and actually think about what you're reading, it can't help but feel like a sort of game, like playing make-believe. As with most games, it can be very entertaining (for all parties involved), but we shouldn't confuse its amusing conceits for properties of the real world.

In the real world, the writer has their tastes, and you have yours. These tastes are probably not identical. The writer may be aware of the diversity of readerly tastes, and may thus be aware that tastes like yours are out there, but they have no special reason to consider you in particular, elevating you above all the other readers who are non-identical with them (and with you). The writer is dimly and abstractly aware of you, at best, as just another one of the people who will come along later, dislike some of their choices, assume that these choices were wrong in some "objective" way the writer knew about at the time, and then speculate as to why the writer would do something they know is wrong. For every choice, and every way of making every choice, one can imagine a reviewer who responds to it in this way, and quite often these reviewers actually materialize once the work is available for consumption. If you try to reason about these guys in advance, as a writer, it'll stop you in your tracks (if nothing else because there are 2+ of them whose takes are mutually incompatible). You've gotta have some other standard of value to rely on.

So, as a reviewer, if you ask "why would someone ever make a choice I don't like?" and try to pick at this question, you are quite likely heading toward a dead end. The writer wasn't thinking about you (or people like you). They were applying their own, distinct standard of value.

Better to ask: "suppose there was a person who actually liked all of this. What would they be like? How would they be similar to me / different from me? And what, if anything, can I conclude from that?"

The Apocalypse of Herschel Schoen

My fourth novel, The Apocalypse of Herschel Schoen, is now available in full.

Merry Christmas to all, and to all a good night!

[lost-in-fandoms]

Just because it’s the most unexpected promoted on the list….max is ella enchanted (28), maxiel. Have no preference as to if it’s angsty/fluffy/kinky/funny/dramatic. Just interested to see where you take this.

From here Hello thank you!!! I'm also interested to see where I take this! (I have no idea let's find out).

cw: possible implied non-con. it's not, but for a bit Daniel thinks it is.

Max is very well behaved.

It's one of the first things Daniel learns about him, even before Max becomes his teammate.

He can be a bit bitchy sometimes, sass a little, be rebellious, but as soon as someone tells him to behave, he does. He listens well, he is great at following orders, seems to thrive on being given clear instructions. And Daniel can confirm that all of that is true.

It's seems to be even more true in the bedroom.

When Daniel says kiss me, Max does. When Daniel says get on your knees for me, Max does. When Daniel says let me hear you, Max does.

It's not that Max doesn't argue, he isn't afraid of letting his opinion be loudly known, but he's just. Good at following orders. That's all. It's easy, and it makes life easier for everyone around him.

Or at least, it does until it turns Daniel's world upside down.

"Hey," Lando greets him, sitting down next to him and offering his fist to bump.

The meeting room is still mostly empty, everyone loves to run late to drivers meetings, and Daniel is comfortably lounging in one of the chairs in the back, idly kicking the seat in front of him, making the chair shift more and more forward with a screech.

"Have you heard?" Lando asks, looking at him with his eyes twinkling. Daniel knows that face. It's his I have been trusted with a secret that I am immediately going to spill face.

"Have I heard what?" Daniel asks, bored enough to not care about trying to ensure someone's trust doesn't get broken.

"Apparently, Max is cursed!"

Daniel stops kicking the chair.

"What?"

He thinks back to the morning, when Max had slipped out of his room looking very much normal, trying to imagine what might have happened in between, and why would Max not text him about it.

"Is he okay?" he asks, already pulling out his phone to get into their message thread.

More drivers are starting to trickle in, but no Max, so Daniel thoroughly ignores them all. He can apologise later. Maybe.

"No no, it's not new!" Lando still sounds gleeful about sharing the gossip, and it's possible Daniel is going to punch him.

"What the fuck do you mean, it's not new? And who told you this?" he snaps, maybe too harshly. His text to Max isn't even getting delivered, meaning that either Max's phone is off or that someone truly hates Daniel's guts and wants him to suffer.

"I don't know, people are saying! And it's since birth!"

Daniel relaxes slightly. If it's since birth it can't be something too serious, or it would have been picked up already. He still wishes he could reach Max, or that Max would just show up, but he's not as desperate as ten seconds ago.

"Okay, fine," he relents, when it's clear that Lando knows more but won't talk unless he gets asked. "What's the curse?"

"It's incredible, mate! He has to follow orders!"

And then Lando laughs. As if it's funny, maybe already thinking about all the prank opportunities this could turn into.

While Daniel's brain slowly collapses.

"Any order?" he asks, voice faint to his own ears.

Any order means any order. It means tell me the race strategy. It means shunt your car.

It means be a good boy and suck me off.

Daniel doesn't even apologise when he throws up on Lando's shoes.

--

"Max, Max, fucking pick up."

Daniel paces around the room, phone pressed to his ear, trying to call Max for what feels the hundredth time.

He can't stop shaking.

Max hadn't been in the drivers meeting. Not that Daniel had been either, he'd run out as soon as he had stopped puking on Lando, but he hadn't been in the Red Bull garage either. He hadn't been in Daniel's hotel room, or in his own.

And he wasn't answering his phone.

Daniel can't stop thinking about it. Max is well behaved. Max is well behaved. Max likes orders. Max is well behaved.

He feels like throwing up again.

The call rings out, and Daniel simply presses the call button again, fisting his hand in his hair.

"Fuck, fuck, fu..."

The door beeps as a card is used, and then swings open, letting a very tired looking Max Verstappen in.

Daniel drops his phone on the floor.

"Fucking hell, Max, what the fuck!"

Max jumps, taken aback, his eyes widening at Daniel's wild appearance.

"Daniel? Are you okay?" he asks, taking a step forward, hesitant.

Daniel laughs, feeling crazed, stomach rolling. Is he okay? Is he fucking okay?

"I am great, mate! My boyfriend is cursed, didn't tell me about it, and then fucking disappeared! I am great!" he snaps, laughing again, hysterical.

"Daniel," Max says, in that soft voice he uses for his cats, walking forward with his hands slightly raised. "I am of course okay. I am sorry if I worried you, but we had an emergency meeting about it, and..."

"Did you even want it?" Daniel interrupts, unable to keep it inside anymore.

Max frowns, confused.

"Want it?"

"All the times I..." Daniel swallows, feeling the taste of vomit in the back of his throat. "Did I force you? Ever? Into something you didn't want?"

It takes a second for Max to understand, but then his face softens, and he comes closer, settling his hands on Daniel's arms and then, when he doesn't fight it, dragging him into a hug.

"Do you remember the first time that we kissed?" he asks, lips brushing against Daniel's messy hair.

Daniel would prefer if Max just answered the fucking question, but he'll be damned if he ordered it to him. He just shakes his head, too distressed to think about it properly.

"I kissed you," Max tells him, half a smile in his voice. "And I asked you if I could suck you off."

Daniel remembers now. How bold and shy Max had been, flushed cheeks and wandering hands.

"I have never felt forced with you," Max says, and Daniel almost collapses into him, the weight on his shoulders partially lifting.

"How can I be sure?" he asks instead, voice choked with tears.

When Max pulls back there's a twinkle in his eyes, a smirk on his lips.

"You can order me to tell you, of course. I cannot lie."

[ideasarestuckinmyhead]

Auron and rook being parents to Charlie and Casper auron being the over protective father and rook being the cool mom

Parent like?

To me I feel like it's more of an older sibling type deal. But I can see scenarios where Auron and Rook feel like parents.

Like Auron straight up acted like a fucking dad helping Casper find Charlie again.

Ngl it'd be funny if Rook meet Charlie and helped him with having meeting Auron sprung on him.

After that Casper and Charlie kept texting the two respectfully. It was interesting especially after a fight or argument.

Casper is texting Auron calmly and Charlie is freaking out. Rook is sighing as they tell him it's normal and to just be honest with Casper.

Auron tells Casper straight up if they fucked up, but if they didn't he shows Rook the texts from Casper's pov.

Since Auron did give Casper a card (I don't remember which one but it was in the recent ep of lost n found) he checks on what they purchase once in a blue moon.

Also we all know he keeps tabs on everyone, but he double checks Casper.

Rook is more the hands off and shoots Charlie a text asking how his day was.

Giggles as Charlie tells them about the most recent date. Even suggesting spots they know to go to.

Casper does sometimes tells Auron when he's being too much. Which gets a eye roll but Auron does back up after a while. Trying to figure out what he did wrong.

Charlie honestly if he didn't have Rook would be so long in relationship stuff. Bc he didn't have anything serious like Casper.

Rook tells him he's doing fine and that they don't know what the fuck their doing too. I mean they somehow pulled Auron so.

I feel like sometimes Rook and Charlie hang out to meet face to face. It's a fun hangout gossiping about work gossip.

Casper and Auron have many conversations during rides. Sometimes Auron even asks their opinion on something he wants to get Rook.

After a talk if the other needs the information Auron and Rook tell each other what was discussed. It's really nice since Auron learn things from Charlie in a healthy way.

When Rook did finally meet Casper they gushed about how cute the driver is. Embarrassing Charlie by saying the compliments he's said before.

Auron after seeing Casper preening told Charlie bluntly how they made a poem of him. Causing Casper to snap their head to him.

There are times where Auron and Rook switch Casper and Charlie. Where Rook needs to be gentle with Casper and Auron needs to be blunt for Charlie.

Honestly the two couples help each other. It's nice when Casper has to be blunt to Auron and Charlie needs to gentle with Rook.

It's funny when Casper and Charlie have to help the two bc their not using their own policies they tell Casper and Charlie.

[h-sleepingirl]

Hi!

I've been participating in the hypnosis world for about a year only as a subject, with somebody's audio files I've grown to enjoy. Being relatively... intelligent? (ADHD former "gifted kid" stereotype,) I've loved the way it can be so calming to my head which often has thoughts racing left and right with no end.

Your latest post about being a wizard with tomes piqued my interest and I would love to learn more and be one myself, especially in regards to Erickson who I had no knowledge of prior to today. Where would you recommend I start...? I would love to DM you and chat if the response would otherwise be too vague and long to be a reply to anon :)

Excellent to hear! I’ll give you some recommended reading and info. (And thanks for asking in my inbox, because this may help others!)

Milton Erickson was a hypnotherapist active in the 1900s who helped shape the form of modern hypnosis. There are many mythology-type stories about him. He really pioneered non-authoritative hypnosis (like, not “You will go into trance now!”), and hypnosis where he considered each client individually in order to figure out the best hypnotic method for them (this is the most critical thing and we still need to learn from it IMO). He’s known for some distinct techniques including storytelling and indirect language, although how those work and what they are depends on who you ask. He was a major inspiration for Neuro-Linguistic Programming, which takes inspiration from him but really changes a lot.

If you are just starting to learn how to hypnotize another person, I would not recommend STARTING with Erickson’s direct works (I mean feel free to read about the guy, just don't try to fight through his writing yet) -- but I don’t think you have to wait too long, especially if you have some experience as a subject. I would highly recommend reading a VARIETY of “intro to erotic hypnosis” guides -- there are a bunch, and as you’ll see, everyone teaches them differently. That’s because there are MANY ways of looking at how to do hypnosis and what it even is. Keep that in mind as you explore. I would like to offer my own guide: https://www.learnhypnokink.com/ in which I do try to teach a more overarching perspective that should be useful for learning other perspectives, and especially useful for progressing past beginner level.

Reading is great and if you only ever want to read that is fine, but a lot comes from experience, too. I don’t have recommendations for finding people to play with -- just remember that as a hypnotist, you have boundaries too, and you do not have to let yourself be used as a “trance vending machine” by eager subjects.

In terms of Erickson, take a look at his Wikipedia page or articles about him to get the gist of his character and history -- fascinating stories about him. And then when you want to try, read “Hypnotic Realities”, by him and his student Ernst Rossi. This is THE definitive Erickson book. I would not recommend reading books ABOUT "Ericksonian hypnosis" first -- anything talking ABOUT Erickson really tends to transform the meat of what he's trying to communicate IMO. Read from the source first. “Hypnotic Realities” is the greatest book on hypnosis of all time in my opinion, but it’s dense and challenging. It’s also beautifully subtle and you should plan to reread it ever so often because you will get new things out of it at different places along your journey.

Good luck! I hope this helps you and anyone else curious!

[codekira]

Rant about Robocar Poli ( Unpopular opinions and I probably might get cancelled for this)

With the help of my boyfriend, I found out about this show called “Robocar Poli”. Eventually, I found myself getting hooked into the show, not for its artistic value or its target audience, but simply because of how fun and childlike it is. I mean, it’s just another generic cute little show for babies that doesn’t warrant an extended fanbase!

And then I found out about its fan domain.

Needless to say, I was surprised to see the number of fans this silly little children’s play had. It’s not uncommon for the rarest of media material to garner attention by the common folk. But as I scroll through the pages of fanmade art, roleplays, writing, or simply awkward rambling, I began to notice a few gripes that I had. Something that made me say “What? They can’t be serious!”. Something that made me flip the table in confusion.

Friends, let’s journey through the trudge of unpopular, popular, or controversial opinions that I have to get out of my chest. I know many are going to disagree, and that is fine. I am simple here to piss you off about my opinions or make you jump in joy for having the same opinions as me. It goes both ways. And remember, hate all you want, I don’t care. I have a life to live, and making this long-winded rant is simply a sidequest from living. And for those who say “Oh! It’s just a kidshow! Stop overthinking and overanalyzing it!” This is the internet. Not everything had to go through your 14 paragraphs of made up rules.

A special thanks to my boyfriend for encouraging me to voice out my thoughts and opinions about this particular matter and for helping me format this post.

THE RESCUE TEAM IS OVERRATED

Let’s start with the elephant in the room. the titular characters of Robocar Poli, the Broomstown Rescue Team. They are fawned upon by the citizens of their little town. And it seemed to have translated to the fanbase as well. Which is understandable, they are the protagonists and the main focus of the show. My only gripe is… how can people find them interesting?

To me, they seem like every generic main characters who are nice and kind and friendly to everyone. Except for Helly, who sticks out like a sore thumb for being slightly different with his playful personality. Still, they are boring to me. Nothing about them screams “Oh, this sounds like a character I am bound to be interested in!” Nothing. There is nothing to work with here.

I would even argue thst the side characters have more personality to them than the so called “main characters”. Atleast they don’t bore me every time they are on screen.

Sure, you can just make up your own bullshit for them in the long run. Headcanons in the fandom run around like rats, to the point some of them are considered canon by the community. An example of this is Poli being associated with space.

I stand with my point.

THE MISCHARACTERIZATIONS

First, Poli having a fear of caterpillars/bugs. If you’re going to add personality to the void of a character that is Poli, don’t just give him one trait and work off of it!

Around the fandom, I keep seeing Roy getting treated like a manchild. It just irks me. Not that it matters though, every fanbase has that. And I keep seeing him depicted as this “soft uwu boy” and holy shit can that archetype die already? He’s a grown man for God’s sake!

THE SIDE CHARACTERS ARE BETTER

Now this… this is the one i’m going to get hated on. Bear with me here. Where do I even begin with this?

I keep seeing people shit on the side characters for being “annoying” and “idiotic” but they couldn’t be more enjoyable. They are so full of life compared to the excuses for main characters. Watching them thrash around the screen has sent more reactions out of me than any focus they have attempted to place onto the rescue team. At least they have more traits that can be considered unique!

Also, they deserve far more recognition than what the fandom gives them. They get glossed over really quickly and it pisses me the fuck off. The rescue team live off of fanmade headcanons and backstories and they live off of their appearance on the show. See the difference?

I HATE CLEANY

This will ruin my already ruined image so bad… This character pushes me over the edge for how frugal and whiny he can get. I hate his overbearing voice. I hate his incredibly timid personality. I hate how everyone is so kind towards him and how I just want to shout at his face.

—

Remember, this is my opinion.

I might post more of these in the future, if I have the ciursge to get myself trashed again. Feel free to voice your own thoughts as well. I will be reading with glee. Codekira out.

[twinklebitch]

idk if it’s just me but i feel like so many criticisms of this season boil down to expecting an actual play improv show to be as coherent and cohesive as a scripted piece of media.

and also i don’t think some of you have ever played dnd and it shows

[skydrag0n]

Tim’s a bisexual with a preference for women

[oceanwithouthermoon]

i think its weird that i have to make this disclaimer but the internet is crazy so wtvr,, anyway,,

if i say i dont like something, that doesnt mean "that thing is bad and nobody should post it.."

i swear literally every time i even mention that i dislike something, people will go "wow does that mean u fucking hate me cuz i post that thing? ur a fucking stupid bitch and all ur opinions r wrong" LIKE ?? er.. no. just because i say i dont like certain characterizations of certain characters (the saiki k fandom is CRAZY about this cuz i can state an opinion on literally any character and a group of people will still go 'well only we're allowed to post our opinions about them because we're always right!1!1!'), or certain ship tropes (mentioned my hatred of toxic yaoi maybe once or twice on here months ago and people STILL get mad at me as if i said toxic yaoi lovers r evil or something), or certain ships, or WHATEVER, does not mean that i HATE the people who are posting them or that i think they shouldnt post them at all, NO, im just posting about my personal tastes on my personal blog and it would be extremely weird and hypocritical if i decided that i was the ONLY person that was allowed to do that,,

i think the only reason people assume that is because there are a lot of other people on here who ARE like that, and a lot of people toe the line between posting that they dont like something and posting that they think everyone who likes that thing is stupid, annoying, and wrong,, so i guess all i can say is, sorry for whatever made you make these assumptions but they arent true about me so plz leave me alone ʘ‿ʘ ur doing the same thing to me that ur accusing me of but i didnt do it in the first place so ur just actively being a dick for no reason

[aroace-poly-show]

personally offended by like half the cards in that tournament WHAT DID THOSE CARDS DO TO YOU

[seiya-starsniper]

.

[martyrbat]

so many of you talk about the cruel adults in your childhood that negatively effected you and caused lifelong insecurity yet you're still perfectly fine with being that mean stranger to any kid that has the misfortune of existing around you and thats just really gross !!!

[piperslovebot]

People who don’t ship Stelena because Elena deserves better than the Salvatores and how much they hurt her: I see u, i respect u, ilu <3

People who don’t ship Stelena because Stefan deserves better than Elena: Just…dni w me pls or at least not let it be about that topic lol.

[bmpmp3]

and since im in a musicposting mood you should listen to jellyfish right NOW

[stardustdiiving]

From the ship ask! What's a pairing most people seem to like in Genshin that you don't?

(ship asks prompt)

MAN OKAY I honestly could answer this with a good third of popular Genshin ships…but none of these are really solid dislikes, it’s just me feeling specific about how I like to see it executed & finding the way the fandom handles it is either unsatisfying, or generates an environment that kinda stresses me out NJDNCNC

To narrow it down to one I feel matches the question best I think I’m gonna go with Kokomi/Sara. It’s not really an active dislike or anything I promise I’m genuinely chilling. *insane person voice* but see I am just very stressed out with the in universe geo-politics happening in the background of this Genshin impact ship

I MEAN THAT IN A VERY SILLY WAY. but also I do have a genuine elaboration on what i mean which is like…how do I say this.

I really like Watasumi Island and find their existence + circumstances as a nation really interesting, especially regarding their dynamic with the Shogunate—it’s like the one part of inazuman politics that really catches my interest. But see the way I took the way the Shogunate + Watasumi dynamic was being written was specifically that Watasumi is/was suffering from colonization/imperialism at the hands of the Shogunate. I don’t see them as equal enemies on opposing sides of a conflict I’m just kind of like. Oh my god the Shogunate tries to control their primary food sources + military and after the war u see like, Gorou helping smuggle medicine and food supplies to treat their wounded war veterans bc the Shogunate is imposing high taxes on them they can’t afford to pay. The Raiden Shogun slaughtered their deity who was kind of backed into a corner on trying to secure vital resources for his people and to this day his corpse is just sitting on her territory getting ravaged and mined for weapons !! That’s crazy! I like thinking Abt that!

While I think Inazuma suffered from the writers dropping the ball with a lot of things I am generally happy this dynamic is explored/acknowledged repeatedly and Watasumi at least to me doesn’t feel like it’s constantly written in a really meanspirited and shitty way you know. Like, in the medicine supply smuggling thing i mentioned — that’s a route in Heizhou’s hangout that ends in a conclusion that something may have severely hurt the vitality of Watasumi’s land and it’s ability to provide, but that doesn’t mean they won’t survive or all hope is lost, because theres people within Watasumi who care and embody that hope and vitality within themselves and are working hard to build stability and provide for everyone. Like idk that’s really cool and I genuinely found it a really nice narrative that really makes me root for Watasumi

But then we get to Sara & Kokomi and ppl just do not talk about this dynamic between both nations at all from what I see, despite it being really relevant to the characters and in theory the appeal of the ship? And I jusurjfucn I guess it confuses me a lot bc I remember, most recently for example on the TCG event, I was so confused seeing everyone post about their interactions for days about how it was cute they were engaging in card matches together and Sara wanted to be friends…and then I played the event myself and we get this scene where Kokomi is standing off starring out at sea alone, and she talks about how she doesn’t like how she can’t see Watasumi from here, and how that was especially agonizing to experience during the war, and then gets caught up in her memories of the war and talks about how a lot of her people are still recovering from the trauma of it, and how she’s participating in this event bc she’s anxious about wanting to build good relations between the Shogunate and Watasumi so her nation doesn’t suffer more in the future AND IM JUST…MAN

Like I do think I can see Sara & Kokomi being friends, Sara’s character feels like it’s the concept of “individual with genuinely good morals working in an oppressive system doesnt stop the damage the system causes” kind of deal BUT IDK���I get fandom experiences can very anecdotal and I’m sure there are shippers who handle this aspect of the ship but when at large it just feels like it’s filed down to a vague enemies to lovers + contrasting aesthetic girlfriends ship I guess it def leans more towards being one I’m not really into. I think it doesn’t help it strikes the specific fandom pet peeve I have where I sometimes feel ppl water down a lot of wlw ships down to just being surface level cute and I am a lesbian who likes very nuanced and complicated character dynamic exploration so I’m personally just like. Yeah idk I guess this seems rlly widely accepted fanon wise but I don’t rlly click with it at all djjcnfj while I could be interested in this dynamic being explored, just if I were doing my own take on it ik adding romantic tones wouldnt feel super necessary to make it feel more interesting to me personally yk x__x

I just feel very excitable about a lot of genshin things and Watasumi vs Shogunate related things hits that mark of interest for me…definitely not implying the shippers r doing something wrong by making silly lighthearted posts and being less interested in types of analysis I enjoy but I guess that’s the most popular ship I feel the least interested in I can think of?

[ghostsessioned]

Can you ramble to me about Olivia (if/when you have time)

MOM HOLY FUCK THE QUESTION OF THE CENTURY.

i would love. to ramble about my favorite fucking character ever. The character ever. camena's Most Annoying blonde - turned blue - haired moon loving lesbian. i love her spunk, i love her attitude, her lack of self - control, her demeanor and "get it done" agenda. her thinking she doesn't care but she cares too much and it frustrates her because she shouldn't. thinking she's better off without anyone but feeling lonely on nights where she could be hanging out with violet and charlie but chose not to. she knows she's in over her head ! she doesn't care ! she'll deal with the consequences later, that's how she's Always worked. needless rambling going off the rails and not having any sense of direction 101

if olivia has a million fans, then i am one of them. if olivia has only one fan then that is me. if olivia has no fans, then that means i am no longer on earth. if the world is against olivia, then i am against the world.

[eve-is-a-terf]

this tumblr popped up on my feed last year about October and I thought I’d give it a hate read and then I was like. Hm. Damn this makes sense. And that’s what peaked me lol.

wow, congratulations on being radicalized into our cult lmao!! jk, i love to hear other people's peaking stories, and so many come from hatereading. i always wonder how many TRA lurkers on radblr eventually become radical feminists themselves haha