#feeling the need to play into a trope by creating “funny” lines that is basically just fucking racism is just soooo danganronpa

[supahstarrr]

as a dr fan we need to acknowledge that some of the danganronpa characters suffer through chronic liners for bad humor by out-of-touch old guy writers syndrome

[gooselycharm]

hi there! i'd just like to say that your kris and noelle "something else" comic has been driving me insane /pos and i'd love to hear more of your thoughts on those two!! their relationship is one of my favorite things in deltarune and your comic just got everything about them so right 🙏

thank you for reading "something else"! oh man, [more of] my thoughts on kris+noelle.... i sure got some of those.

this was one of the first tweets i made after finishing chapter 2 nearly... freaking 2 years ago. and basically i've just been saying that over and over again in different ways because i'm still not tired of the concept yet and probably wont ever be LOL. i'm obsessed with how badly the narrative wants to force them into an easily categorizable dynamic, especially the romantic one in snowgrave. the literal THORN RING, the more possessive dialogue options, spamton calling noelle a side chick LOL... it all creates this unnerving visual novel bad end atmosphere that feels manufactured by someone who's only ever learned about romance through secondhand sources. they're two queer teens trying to navigate their changing relationship with the only role models they know being their parents' own failed heterosexual marriages. they're so divorced² (divorced children of divorce).

i also like that for being so tragically doomed coded they can be funny! both in a dark humor way and also like, genuinely funny, like the stories of them as kids with kris covering themselves in ketchup and hiding under noelle's bed lmao. i mean there's even something funny about the romantic trappings of the snowgrave route, like trying to put wedding cake embellishments on a crime scene... you know, funny like kids trying on their parents clothes but they're too big and for some reason they're also crying and covered in blood? um.

i'm also SOOOO interested to see how snowgrave will continue in chapter 3! i really liked the hopeful note chapter 2 ended on (well. i took it as hopeful anyway). there's that bit where noelle is talking to herself and she says something like "recently kris has been acting so strange and no one else has noticed... i have to figure out why" and then kris jumpscares her LOL but i think i took that one line and really ran with it. noelle really is the one who knows kris best and despite how scared she is, she's still determined to help them... i like the little subversion of victim/hero going on, the implication that kris might be the one who needs rescuing.

the additional story/lore that came with the spamton sweepstakes made me CRAAAZYYYYY like my GOD... it's cute that noelle likes glitches/creepypasta when kris is kinda a walking creepypasta <3 also, god, noelle falling asleep listening to kris playing piano in the other room... there's so much like. wistfulness and nostalgia and this like... distant/detached intimacy packed into how noelle narrates that scene. it's kind of funny how much there is to dig into when like on a surface level they're just fairly regular childhood friends who grew apart LMAO they're extremely deep to me okay...

on another note i guess i do ship them? i like their dynamic whether it's platonic or romantic (the best is a weird mix of both 👍). it just can't be boring LOL like... this is one ship where trying to apply cookie cutter tropes to them really falls flat and the game is ahead of you on that anyway. in terms of romantically shipping them, i honestly don't think they're doomed to repeat patterns forever... i think they could actually be good for each other! but that's not really the aspect of their relationship that interests me akldjf;alk;sdg maybe i will make 60 page comic of kriselle going to couples counseling some other time

ANYWAY i'm going to cut myself off here, because i really could go on forever lol. i'll give you some links for further reading though

hellspawnmotel's deltarune art

lula pillowbug99's deltarune art

this art by raspbearis which features prominently in my internal kriselle bible

my own unfinished kriselle playlist

my own essay on gender & allegory in deltarune if for some reason u are not tired of hearing me talk yet

okay bye now & thanks again for reading my comic!!!!!!!!!!!!!

[horizon-verizon]

The amount of Aemond x oc I've found ( which is basically self-insert) is so funny... Like really what is so special about this character? A bullied incel ? We have seen thousands of these characters, Mommy's boy? Also we have seen thousands of these characters, Anime Villain? We have them in every anime...

Literally there is nothing deep or complex about his character, he is made of tired troops without any subversion or nuance . He has a hot actor playing him and this is what get so many people dickriding his character and claiming that he is and will always be a victim. People just need someone that will wet their pants so they will start excusing the actions of a character that embodies rotten ideologies that oppressed women for so long.

Oh ... Poor Mewmond..

We can have many “mommy’s boy”, “bullied incel”, “anime villain” characters, I think, and still have a good story, have them act out heir roles sufficiently, etc. 

Problem with Aemond having his popularity is that people try to separate HotD from Fire and Blood/ASoIaF...

...and then argue for its legitimacy, how the original bones of the story doesn’t matter because apparently HotD’s story is “better”. And because it is “better”, it is then the only “real” story of the Dance. 

But then some/many argue that it does stay faithful or faithful “enough” that we don’t need to argue for how it doesn’t make sense in many ways. 

As if HotD’s world, rules, and entire social systems and structures (you know...those things that set up, define, and create the pressures/obstacles for characters and present stakes to us, ultimately characterizing the meaning and urgency of the entire story and its arcs).

The writers let Aemond off the ethical hook because they don’t really wan tto understand how a boy could be as selfishly entitled, classist, blood purist, and misogynist from the age of 10 and grow up a worse man and that be it. (Yes, even younger children can be misogynist, racist, etc. Ideologies don’t just mushroom at age 18.) And because they don’t believe or understand this, they think that Aemond is this helpless little thing who’s only trying to prove himself, instead of a loveless, violent maniac (his canon self). 

The male writers especially don’t want to really think or believe or be confronted with such a phenomenon, because -- and I am musing after my read of xenonwitch’s reblog HERE --  they’d have to reflect and maybe admit to some behaviors they performed in their youth, or things they said or let happen. 

With Aemond (and all the greens except Otto and Helaena), we’re encouraged to empathize more with him than we are with Baela, Rhaena, Jacaerys, etc. and the Kids Are Cruel trope centers him rather than, say, the actual vulnerable: the V boys (rumors of bastardry) and the girls of a man continuously exiled who just arrived seemingly for the first time in their lives. We spend more time with Aemond then we should, time/development spent usually on the protagonists....which is Rhaenyra, the blacks, and their children.

The whole story line of Aemond getting bullied (which is not at all canon) and then risking his life to claim Vhagar by daring to go out and claim her on his own at night (without the show focusing on how he’s doing this while the girls’ mother was just buried and how canon him would have hated them just for being on Rhaenyra-Daemon’s side). We’re encouraged to see him, then, claiming Vhagar as a very good thing when really it foreshadows the violence that will occur later one. All that power in a perosn who is supposed to be evil and abusive....that scenes actually should have been designed to make us feel dread, not hope, pride, etc. And like with Alicent, from being a boy with no dragon and losing his eye in an “unfair” moment after finally taking a dragon (after he was supposedly bullied and suffering character/“underdog”) we’re lead to feel more for him than the younger boy who would have had a grown woman cut out his eye. But since he becomes a sort of “momma’s boy” (again, not canon) he also becomes her protector, a role that Daemon fulfills for Rhaenyra. Which, with no scenes to show how their relationship developed due to jump cuts, uncomfortably compounds the feeling that Alicent and Aemond are too close.

Nice moniker for him, btw.

[xxwhiskeyxx]

Heacanons w/ Whiskey  Random Blurbs

I’m sitting in the library at my college, I’m done with my work for the day and I’m procrastinating writing today’s trope because I am the king of procrastination.

ANWAYS

As many people have come to headcanon, Mounty grows plants around his horns and in his hair whenever he is focused on something or thinking of someone, also gives people plant nicknames. The way he comes up with them is seeing what flowers or plants grow whenever he thinks of a specific person. Such as with Swiss, Edelweiss, Spider Lillys, and Hydrangeas tend to sprout whenever the Multi pops into his mind, or Iris’s and Nightshade appear when Aether was helping him in the greenhouse for the first time.

Dew has chronic dry mouth, which is funny because when he had more Water ghoul traits, he had a problem with over salivating.(Poor baby was forced into a ritual by upper Clergy members to force his Fire to be his almost exclusive element and took away about 80% of all his Water traits, more on this in an upcoming trope) Now this is why he almost always has a drink on hand, or he is constantly coughing due to his mouth being so dry

Swiss is the Just Dance king but the one song he can never seem to beat is surprisingly the Cotton Eye Joe dance simply because he wants to do the proper line dance and it infuriates him that they changed it

Sunshine, Swiss, and Dew are known as the Chaos Triplets and are absolutely not allowed to be alone with each other without supervision, last time they managed to sneak away and they created a bomb in the kitchen that they set and exploded in Nihil’s office, their reasoning? “He’s mean to Papa!”

Cumulus is actually pretty chaotic herself; she is known to set up pranks around the ghoul den for unsuspecting ghouls to fall into. Water balloon filled with shaving cream set just right so that it falls and splatters on Aether when he walks into the kitchen, Poppers under toilet seats (Mountain once fell in and had to pried out by Aether and Swiss cause his legs got stuck upward), she once even switched out the milk with baking soda water and made Dew throw up when he had chugged it straight from the carton.

Aether needs to wear glasses for reading and all the other ghouls swoon when they find him perched in a chair, dad stance with the knee crossed over the other, with his reading glasses on his nose. Swiss will typically dramatically fall into his lap and beg for him to read to him.

Rain has days where he is very touch-adverse and the others have learned to ask before touching him for the first time in the morning, Cumulus is a slight exception because he can never be disgusted by her hugs. (Quick head and shoulder are his accepted form of affection these days, also finger touches)

Cirrus has somehow managed to wrangle Dew into makeup and skirts quite a few times, always showing him off and calling him her “Pretty Girl” which always makes his knees weak, and he will happily chirp and trill as she applies the makeup.

Copia has been accepted as basically a member of their back and they WILL go into his room and force him into a ghoul pile if they feel he’s been too distant lately, usually initiated by Dew and surpringly Rain

Mountain is quite possibly the touchiest of the ghouls, always patting someone on the head or hugging someone if he feels like it. He’s also been known to drag people into his lap, shove his face into their back, and forcefully cuddle them if he’s had a bad day, Swiss, Cumulus, Sunshine, and Dew tend to volunteer for Mountain cuddle duty if it seems he’s particularly snippy, cause usually a good couple minutes of snuggles will bring back their happy Mounty.

Swiss actually can play the saxophone, along with trumpet, piano, trombone, piccolo, harmonica, and drums, he’s aiming to learn everything possible but he’s limited to what he can buy on amazon and what he finds around the band storage closet

[impostoradult]

Media Market Research (and why its undermining all the things you love)

Trying to understand what is dysfunctional about Hollywood is an epic task, and the answers are like the stars – arguably infinite. Hollywood is dysfunctional for literally more reasons than I could count.

But market research plays a fairly heavy role in its dysfunction (IMO) and the time has finally come for me to add my professional two cents about this issue. (This rant of mine has been building for a while, FYI. Hence why it is so...comprehensive. There is a tl;dr section towards the bottom, if you want the high level summary)

*** For the last 4+ years I’ve worked in the field of market research, almost exclusively with major media makers like Warner Bros., NBCU, AMC/BBCA, Viacom, FOX (before Disney acquired them), A+E, etc. (this past year I quit the job where I was doing this work for a variety of reasons, many of which will become clear as you keep reading, but I am still listed as a consultant on the company website):   https://www.kresnickaresearch.com/who/ (Rachel)

And just for comparison, here is a Halloween selfie I took 4 years ago and posted on my blog, so you can see I am who I say I am. 

I know a fair amount about how market research on major media franchises is conducted and how it influences production, and a lot of these choices can also be at least somewhat tied back to the massive flaws in the market research industry and its impact. *** First, at the highest level, you need to understand market research in general is not well-conducted much of the time. Even the people doing a reasonably good job at it are VERY limited in doing it well because of financial constraints (clients don’t want to spend more than they have to), time constraints (clients want everything done as fast as humanely possible) and just the inherent problems within the industry that are decades old and difficult to fix. For example, all market research ‘screens’ participants to make sure they qualify to participate (whether it is a mass survey, a focus group, a one-on-one interview, etc.). So, we screen people based on demographics like race, gender, age, household income, to get representative samples. But people are also screened based on their consumption habits. You don’t want to bring someone into a focus group about reality TV if they don’t watch reality TV. They aren’t going to have anything useful to say. 

However, a lot of the people who participate in market research have made a ‘side-gig’ out of it and they know how to finesse the process. Basically, they’ve learned how to lie to get into studies that they aren’t a good match for because most market research is paid, and they want the money. So, a lot of TV and film market research is being done on people who don’t actually (or at least don’t regularly) watch those shows or movies or whatever but have learned how to lie well enough in these screening processes to make it through. And because of the aforementioned time and money issue, clients don’t want to spend the time or money to actually find GOOD participants. They just accept that as an inevitable part of the market research process and decide not to let it bother them too much. So, a fair number of the people representing YOU as a media consumer are people who may not be watching Supernatural (for example) at all or who watch a rerun occasionally on TNT but haven’t been watching consistently or with ANY amount of investment whatsoever. You can see why that creates very skewed data. But that’s just the tip of the skewed iceberg. *** Second, media market research is conducted in line with the norms of market research more broadly, and this is a huge problem because media is a very atypical product. How people engage with media is far more complex and in depth than how they engage with a pair of jeans, a car, or a coffee maker. There are only so many things that matter to people when it comes to liking or not liking a coffee maker, for example. Is it easy/intuitive to use? How much space does it take it on my counter? How expensive is it? Does it brew the coffee well? Maybe does it match my décor/kitchen aesthetic? Can I make my preferred brand of coffee in it? The things you as a consumer are going to care about when it comes to a coffee maker are limited, fairly easy to anticipate in advance, and also easy to interpret (usually). How people mentally and emotionally approach MEDIA? Whole other universe of thing. Infinitely more complex. And yet it is studied (more or less) as if it is also a coffee maker. This is one of the many reasons I decided to leave the media market research field despite my desire to have some ability to positively influence the process. As so often seems to be the case, I fought the law and the law won. I could never make the other people I worked with in the industry understand that the questions they were asking were not all that useful a lot of the time and they weren’t getting to the heart of the matter. They were just following industry standards because they didn’t know any better and none of them want to admit they don’t REALLY know what they’re doing. Which leads me to point 3. *** Most of the people doing this research don’t have any expertise in media or storytelling specifically. They are typically trained as social scientists in the fields of psychology, anthropology, sociology, or math/statistics. And many of them do not have any kind of specialization or education in media/storytelling beyond the English classes they took in high school and the one Media Studies course they took as an elective in college. Most of them have a very unsophisticated understanding of narrative structure, thematics, tropes, subtext, etc. They mainly think in terms of genres at the VERY broadest level. Also, not infrequently, they don’t watch or have much knowledge of the shows they are supposed to be doing research on, beyond what they’ve read on IMDb or Wikipedia or what is generally common knowledge. Unless they by chance happen to watch the shows themselves (which often they don’t) they often know very little about the shows they are crafting these questions about. Again, partly because they think it is like the coffee maker, and you don’t need to understand it in any depth to research it. (I know this must sound insane to you as avid media consumers, but that is the general attitude among those who do market research) There is such a lack of sophistication in how people in the business side of the industry understand media and storytelling. Most of them are either MBAs or social scientists and their training has not prepared them to examine fictional works with the kind of depth that people in the Humanities (who are specifically trained to study texts) have. Somehow, despite the fact that the Humanities is all about understanding texts, that is the one discipline they make almost no use of in the business side of Hollywood. And boy howdy does it show. *** Point 4 – average consumers CANNOT ARTICULATE WHY THEY LIKE THINGS. Particularly media things. I know this sounds condescending, but it is my honest observation. It is unbelievably hard to get people to have enough self-awareness to explain why they actually like things, especially things as mentally and emotionally complex as media. What typically happens when you ask people why they like a TV show or movie, for example? They will tell you what they most NOTICE about the TV show or movie, or what is distinctive to them about it (which may or may not have anything to do with what they actually LIKE about it). They will say things like “I like the genre”, “I think it’s funny”, “The car chases are exciting”, “I want to see the detective solve the puzzle.” Sometimes you can get them to talk about what they find relatable about it, if you push them a little. But often they leave it at either the level of literal identity (young black woman), basic personality traits (she’s a social butterfly and so am I) or situations they’ve personally experienced (I relate to this story of a man losing his father to cancer because I lost a close family member to cancer). But the vast, vast, vast majority of them can’t go to the deeper level of: a) Why X representation of a young black woman feels accurate/authentic/relatable and Y representation doesn’t b) Why it matters to me that X,Y,Z aspects of my personality, identity, experience get reflected in media whereas I don’t really care about seeing A,B,C aspects of my personality, identity, or experience reflected in media c) How and why they are relating to characters when they can’t see the literal connection between their identity/experience and the character’s identity/experience. (For example, many people have argued that women often relate to Dean Winchester because a lot of his struggles and past negative experiences are more stereotypical of women – being forced to raise a younger sibling on behalf of an actual parent, being seen and treated as beautiful/sexually desirable but vacuous/unintelligent, his body being treated as an instrument for a more powerful group to quite literally possess, etc. Part of the reason Supernatural has always been such a mystery/problem for the CW and Warner Bros is they could never crack the code at this level. Never.) Part of the reason they can’t crack these codes is average people CANNOT give you that kind of feedback in a survey or a focus group, or even an in-depth interview (much of the time). They just don’t have the self-awareness or the vocabulary to get it at that level. Let alone asking them to articulate why Game of Thrones is compelling to them in an era where wealth disparity is creating a ruling class that is fundamentally incompetent at maintaining a just/functional society, which is especially concerning at this particular moment, given the existential threat we face due to climate change. And the truth is, that IS part of what people – even average people – are responding to in Game of Thrones. But what they’ll tell you when you do market research on it is: they like the dragons, they like the violence, they relate to Tyrion Lannister being a smart mouth, maybe they’ll say they like the moral ambiguity of many of the conflicts (if they are more sophisticated than average). But the ‘Dean Winchester is heavily female coded despite his veneer of ultra-masculinity’ or the ‘Game of Thrones is a prescient metaphor for the current political dynamics and fissures of modern western society’ is the level you ACTUALLY need to get to. And most market research can’t get you that because the people ASKING the questions don’t know what to ask to get to this level, and most of the respondents couldn’t give you the answers even IF you were asking them the right questions (which usually you are not) And I’m not saying average people are dumb because they can’t do this. But it requires practice, it requires giving the matter a great deal of in-depth thought, and most people just don’t care enough about it to do that while taking a market research survey. (I know this is going to feel counter-intuitive to people on Tumblr. But you have to remember, you are NOT average media consumers. You are highly atypical media consumers who have far more self-awareness and a much more sophisticated engagement with media than the average person watching TV. If you didn’t, you probably wouldn’t be here talking about it in the first place) Point 4.1 – People also lie/misrepresent their own experiences to market researchers because they want to maintain certain self-narratives. You have no idea how many people would get disqualified from our surveys for saying they watched less than 5 hours of TV a week. And sure, that might actually be true for a few of them. But if you watch TV with any regularity at all (which most people in modern America do) you probably watch more than 5 hours a week. The problem is, people think it makes them sound lazy to say they watch 15-20 hours a week, even though that’s about 2-3 hours a day (which actually isn’t THAT high). People lie and misrepresent their behaviors, thoughts and feelings because it can be socially uncomfortable to admit you do what you actually do or feel how you actually feel, even in the context of an anonymous survey, let alone a focus group or a one-on-one interview. People want to make themselves look good to THEMSELVES and to the researchers asking them questions. But that makes the market research data on media (and lots of other things) very questionable. For example, one finding we saw more than once in the surveys I was involved in conducting was people would radically downplay how much the romance elements of a story mattered to them, even large portions of female respondents. When we would ask people in surveys what parts of the story they were most invested in, romances ALWAYS came out among the lowest ranked elements. And yet, any passing familiarity with fandom would tell you that finding is just WRONG. It’s wrong. People are just flat out lying about how much that matters to them because of the negative connotations we have around being invested in romance. And never mind the issue of erotic/sexual content. (I don’t mean sexual identity here, I mean sexy content). The only people who will occasionally cop to wanting the erotic fan service is young men (and even they are hesitant to do so in market research) and women frequently REFUSE to admit that stuff in market research, or they radically downplay how much it matters to them and in what ways. There is still so much stigma towards women expressing sexuality in that way. Not to mention, you have to fight tooth and nail to even include question about erotic/sexual content because oftentimes the clients don’t even want to go there at all, partly because it is awkward for everyone involved to sit around crafting market research questions to interrogate what makes people hot and bothered. That’s socially awkward for the researchers doing the research and the businesspeople who have to sit in rooms and listen to presentations about why more women find Spock sexier than Kirk. (Which was a real thing that happened with the original Star Trek, and the network couldn’t figure out why) Aside from people not have enough deeper level self-awareness to get at what they really like about media content, they also will lie or misrepresent certain things to you because they are trying to maintain certain self-narratives and are socially performing that version of themselves to researchers. *** Point 5 – Qualitative data is way more useful for understanding people’s relationships to media. However, quantitative data is way more valued and relied upon both due to larger market research industry standards and because quantitative data is just seen as harder/more factual than qualitative data. A lot of media market research involves gathering both qualitative and quantitative data and reporting jointly on both. (Sometimes you only do one or the other, depending on your objectives, but doing both is considered ‘standard’ and higher quality). However, quantitative data is heavily prioritized in reporting and when there is a conflict between what they see in qualitative versus quantitative data, the quant data is usually relied upon to be the more accurate of the two. This is understandable to an extent, because quantitative surveys usually involve responses from a couple thousand participants, whereas qualitative data involves typically a few dozen participants at most, depending on whether you did focus groups, individual interviews, or ‘diaries’/ethnography. The larger sample is considered more reliable and more reflective of ‘the audience’ as a whole. However, quantitative surveys usually have the flattest, least nuanced data, and they can only ever reflect what questions and choices people in the survey were given. In something like focus groups or individual interviews or ethnographies, you still structure what you ask people, but they can go “off script.” They can say things you never anticipated (as a researcher) and can explain themselves and their answers with more depth. In a survey, participants can only “say” what they survey lets them say based on the questions and question responses that are pre-baked for them. And as I’ve already explained, a lot of times these quantitative surveys are written by people with no expertise in media, fiction, or textual analysis, and so they often are asking very basic, not very useful questions. In sum, the data that is the most relied upon is the least informative, least nuanced data. It is also the MOST likely to reflect the responses of people who don’t actually qualify for the research but have become good at scamming the system to make extra money. With qualitative research, they are usually a little more careful screening people (poorly qualified participants still make it through, but not as often as with mass surveys, where I suspect a good 35% of participants, at least, probably do not actually qualify for the research and are just working the system). 

Most commonly, when market research gets reported to business decision-makers, it highlights the quantitative data, and uses the qualitative data to simply ‘color in’ the quantitative data. Give it a face, so to speak. Qualitative data is usually supplemental to quant data and used more to make the reports ‘fun’ and ‘warm’ because graphs and charts and stats by themselves are boring to look at in a meeting. (I’m not making this up, I can’t tell you how many times I was told to make adjustments on how things were reported on because they didn’t want to bore people in the meeting). (Sub-point – it is also worth noting that you can’t report on anything that doesn’t fit easily on a power point slide and isn’t easily digestible to any random person who might pick it up and read it. The amount of times I was told to simplify points and dumb things down so it could be made ‘digestible’ for a business audience, I can’t even tell you. It was soul crushing and another reason I stopped doing this job full time. I had to make things VERY dumb for these business audiences, which often meant losing a lot of the point I was actually trying to make) Point 5.1 – Because of the way that representative sampling works, quantitative data can be very misleading, particularly in understanding audience/fandom sentiments about media. As I’m sure most of you know, sampling is typically designed to be representative of the population, broadly speaking. So, unless a media company is specifically out to understand LGBTQ consumers or Hispanic/Latinx consumers, it will typically sample using census data as a template and represent populations that way. Roughly 50/50 male/female. Roughly even numbers in different age brackets, roughly representative samplings of the racial make-up of the country, etc. (FYI, they do often include a non-binary option in the gender category these days, but it usually ends up being like 5 people out of 2000, which is not enough of a sample to get statistical significance for them as a distinct group)   There is a good reason to do this, even when a show or movie has a disproportionately female audience, or young audience. Because they need enough sample in all of the “breaks” (gender, race, age, household income, etc.) to be able to make statistically sound statements about each subgroup. If you only have 35 African American people in your sample of 1000, you can’t make any statistically sound statements about that African American cohort. The sample is just too small. So, they force minimums/quotas in a lot of the samples, to ensure they can make statistically sound statements about all the subgroups they care about. They use ratings data to understand what their audience make up actually is. (Which also has major failings, but I’ll leave that alone for the minute) With market research, they are not usually looking to proportionately represent their audience, or their fandom; they are looking to have data they can break in the ways they want to break it and still have statistically significant subgroups represented. But that means that when you report on the data as a whole sample – which you often do – it can be very skewed towards groups who don’t make up as large a portion of the show’s actual audience, or even if they do, they don’t tend to be the most invested, loyal, active fans. Men get weighted equally to women, even when women make up 65% of the audience, and 80% of the active fandom. Granted, they DO break the data by gender, and race, and age, etc. and if there are major differences in how women versus men respond, or younger people versus older people, they want to know that...sometimes. But here’s where things get complex. So, if you are doing a sample of Supernatural viewers. And you do the standard (US census-based) sampling on a group of 2000 respondents (a pretty normal sample size in market research). ~1000 are going to be female. But with something they call “interlocking quotas” the female sample is going to be representative of the other groupings to a degree. So, the female sample will have roughly equal numbers of all the age brackets (13-17, 18-24, 25-34, etc.). And it will have roughly 10% non-heterosexual respondents, and so on. They do this to ensure that these breaks aren’t too conflated with each other. (For example, if your female sample is mostly younger and your male sample is mostly older, how do you know whether it is the gender or the age that is creating differences in their responses? You don’t. So, you have to make sure that all the individual breaks (gender, race, age) have a good mix of the other breaks within them, so groups aren’t getting conflated) But what that means is, Supernatural, whose core fandom is (at a conservative guess) 65% younger, queer, women, gets represented in a lot of statistical market research sampling as maybe 50-100 people, in a 2000-person survey. 50-100 people can barely move the needle on anything in a 2000-person survey. Furthermore, usually in the analysis of data like this, you don’t go beyond looking at 2 breaks simultaneously. So you may look at young female respondents as a group, or high income male respondents, or older white respondents, but you rarely do more than 2 breaks combined. And the reason for that is, by the time you get down to 3 breaks or more (young, Hispanic, women) you usually don’t have enough sample to make statistically significant claims. (It also just takes longer to do those analyses and as I explained in the beginning, they are always rushing this stuff). To do several breaks at a time you’d have to get MUCH larger samples, and that’s too expensive for them. And again, I want to stress, this type of sampling isn’t intended to sinisterly erase anyone. Kind of the opposite. It is intended to make sure most groups have enough representation in the data that you can make sound claims about them on the subgroup level. The problem is that it can create a very skewed sense of their overall audience sentiment when they take the data at ‘face value’ so to speak, and don’t weight segments based on viewership proportion, or fandom engagement, etc. Point 5.2 – Which leads me to my next point, which is that fandom activity that doesn’t have a dollar amount attached to it doesn’t make you a ‘valuable’ segment in their minds. One of the breaks they ALWAYS ask for in data like this is high income people, and people who spend a lot of MONEY on their media consumption. And they do prioritize those people’s responses and data quite a bit.   And guess what – young women aren’t usually high-income earners, and although some of them are high spenders on media, high spending on media and media related merch skews toward higher income people just because they HAVE more disposable income. Older white men are usually the highest income earners (absolutely no surprise) and they are more likely in a lot of cases to report spending a lot on the media they care about. Having expendable income makes you more important in the eyes of people doing market research than if you’ve spent every day for the last 10 years blogging excessively about Supernatural. They don’t (really) care about how much you care. They care about how much money you can generate for them. And given that young audiences don’t watch TV live anymore, and they give all their (minimal) expendable income to Netflix and Hulu, you with your Supernatural blog and your 101 essays about Destiel is all but meaningless to many of them (from a business standpoint) Now, some of them kind of understand that online fandom matters to the degree that fandom spreads. Fandom creates fandom. But if the fandom you are helping to create is other young, queer women with minimal income who only watch Supernatural via Netflix, well, that’s of very limited value to them as well. I don’t want to suggest they don’t care about you at ALL. Nor do I want to suggest that the “they” we are talking about is even a cohesive “they.” Different people in the industry have different approaches to thinking about fandom, consumer engagement and strategy, market research and how it ought to be understood/used, and so on. They aren’t a monolith. BUT, they are, at the end of the day, a business trying to make money. And they are never going to place the value of your blogging ahead of the concrete income you can generate for them. (Also, highly related to my point about people lying, men are more likely to SAY they have higher incomes than they do, because it’s an ego thing for them. And women are more likely to downplay how much money they spend on ‘frivolous’ things like fandom because of the social judgement involved. Some of the money gender disparity you see in media market research is real, but some of it is being generated by the gender norms people are falsely enacting in market research– men being breadwinners, women wanting to avoid the stereotype of being frivolous with money) *** In sum/tl;dr: Point 1 – Market research in general is not well conducted because of a variety of constraints including time, money, and the historical norms of how the industry operates (e.g., there being a large subsection of almost professionalized respondents who know how to game the system for the financial incentives) Point 2 – Media is a highly atypical kind of product being studied more or less as if it were equivalent to a coffeemaker or a pair of jeans. Point 3 – Most of the people studying media consumption in the market research field have no expertise or background in media, film, narrative, storytelling, etc. They are primarily people who were trained as social scientists and statisticians, and they aren’t well equipped to research media properties and people’s deeper emotional attachment and meaning-making processes related to media properties. Point 4(etc.) – Average consumers typically don’t have enough self-awareness or the vocabulary to explain the deep, underlying reasons they like pieces of media. Furthermore, when participating in market research, people lie and misrepresent their thoughts, behaviors, and emotional responses for a variety of reasons including social awkwardness and preserving certain self-narratives like “I’m above caring about dumb, low-brow things like romance.” Point 5 (etc.) – Quantitative data is treated as way more meaningful, valuable, and ‘accurate’ than qualitative data, and this is a particular problem with media market research because of how varied and complex people’s reactions to media can be. Also, the nature of statistical sampling, and how it is done, can massively misrepresent audience sentiments toward media and fail to apprehend deeper fandom sentiments and dynamics. There is also a strong bias towards the responses of high income/high spending segments, which tend to be older and male and white. Side but important point – Research reports are written to be as entertaining and digestible as possible, which sounds nice in theory, but in practice it often means you lose much of the substance you are trying to communicate for the sake of not boring people or making them feel stupid/out of their depth. (Because god forbid you make some high-level corporate suit feel stupid) *** What can be done about this? Well, the most primary thing I would recommend is for you to participate in market research, particularly if you are American (there’s a lot of American bias in researching these properties, even when they have large international fanbases). However, some international market research is done and I recommend looking into local resources for participation, where ever you are. If you are American, there are now several market research apps you can download to your smart phone and participate in paid market research through (typically paid via PayPal). Things like dscout and Surveys On the Go. And I know there are more. You should also look into becoming panelists for focus groups, particularly if you live near a large metropolitan area (another bias in market research). Just Google it and you should be able to figure it out fairly easily. Again, it is PAID, and your perspective will carry a lot more weight when it is communicated via a focus group or a dscout project, versus when it is shouted on Twitter. However, that’s merely a Band-Aid on the bigger issue, which I consider to be the fact that businesspeople think the Humanities is garbage, even when they make their living off it. There is virtually no respect for the expertise of fictional textual analysis, or how it could help Hollywood make better content. And I don’t know what the fix is for that. I spent 4 years of my life trying to get these people to understand what the Humanities has to offer them, and I got shouted down and dismissed so many times I stopped banging my head against that wall. I gave up. They don’t listen, mostly because conceding to the value of deep-reading textual analysis as a way to make better content would threaten the whole system of how they do business. And I mean that literally. So many people’s jobs, from the market researchers to the corporate strategists to the marketing departments to the writers/creatives to the C-level executives, would have to radically shift both their thinking and their modes of business operation and the inertia of ‘that’s the way it’s always been done’ is JUST SO POWERFUL. I have no earthly idea how to stop that train, let alone shift it to an entirely different track. BTW, if you want the deeper level of analysis of why I can’t stop rewatching Moneyball now that it’s been added to Netflix, the above paragraph should give you a good hint

[miraculouscontent]

Askplosion #12 4/4:

(I would like to state for future reference that, while I do not mind long/multi-part asks, if you’d like to engage in actual discussion with me over a non-Miraculous topic, my DMs - Tumblr Messenger - should be open; I lost pieces of three multi-part asks this time just due to Tumblr not sending the remaining part(s) so yeah, I just wanted to make that clear)

(like, this askplosion ended up being super long because of this section and that’s not really what I want to have going on since I’m supposed to be a primarily Miraculous blog; I don’t want to have to stop answering non-Miraculous related asks but I might have to if this keeps up:)

.:New non-Miraculous Asks:.

Anonymous said:

What are your experiences with some really rude anons?

It’s partly my fault when it happens. Like I’ve said before, I’m an aspie, and part of what that means is I struggle to understand situations emotionally. I can come off as insensitive or read the mood wrong which often leads to people misunderstanding my intentions or where I’m coming from.

More often than not, what I’m saying will make 100% sense to me but not the person/people reading it. I also stick a lot more firmly to my opinions than I should because people tell me I fold too easily, and I come off as more egotistical than I actually am to cover up my low self-esteem lol.

So yeah, can’t think of any experience in particular but sometimes it might be my fault? At least I suspect that it is?

Anonymous said:

“Killed by kindness” makes me think of an assassin who kills people by giving hugs and compliments to people and the occasion gift that isn’t tampered until thre target does like Conrad Birdie making women swoon into fainting by singing.

omg

yes

Anonymous said:

You're watching Yashahime right now? rip

MARINETTE TAKE 2 MOROHA DESERVES BETTER

SETSUNA HAS SO LITTLE REASON TO HANG OUT WITH THE OTHER TWO GIRLS

IF I SEE ANOTHER DEUS EX TOWA I’M GONNA KICK SOMETHING

(so yes, I’m watching Yashahime)

Anonymous said:

Since someone recommended Remarried Empress, I would like to recommend my own webcomic: Princess Love-Pon! It's about a young girl named Lia Sagamore who becomes the titular magical girl and purifies people's hearts when they're tainted by the Dark Queen! It's really cool due to its diversity, the main character is black and her best friend is Afro-Latina, the villain and her prince son are also black, and there's a Japanese girl, a black guy, and an Indian girl. Plus, loads of pink and frills!

Thank you very much, though I actually don’t take recommendations, even from close friends. The Remarried Empress anon wasn’t a recommendation; they were more pointing something out to me and then I went to confirm.

Anonymous said:

Unrelated to MLB: Which Pokémon are your favourites?

I used a “Favorite Pokemon Picker” because I prefer going by generations to pick favorites and that was the easiest way of going about it. I struggle picking super favorites so here’s what I got form each generation! (my only rule was “one Pokemon per evolution line” with an exception of the Eevee line since they’re different types, and also Alolan/Galarian forms)

(note: the blue-patterned Vivillon is my favorite and I honestly don’t like Charizard normally but the Y version actually slims him down and gives him the wings I feel he should have; it’s an improvement of the design so it gets my seal of approval, I don’t like the X version at all)

(lol I was looking through this after I was done and find it really funny how it’s like, 50% cute things and then the other 50% is just EDGY, there’s very little in-between with me I guess)

Anonymous said:

Bridgerton the Series: Yay or nay? Sorry if you haven’t seen it or it’s not your thing. I was just curious.

Never seen it, though when I brought up to someone, they didn’t recommend it to me at all ahaha.

Anonymous said:

I previously kept having this argument about The Bechdel Test with someone. She keeps insisting that the test is invalid because there's nothing wrong with talking about men and that it was created for lesbians only, and not for feminists, with the implication that being a lesbian somehow means that you dislike men or want them gone. And she also thinks the test is about NEVER talking about men, rather than merely occasionally talking about other things. I keep telling her otherwise, but...

jdfhkgdfhjgdfg “lesbians only”

now all I can imagine is “lesbians only” sections at restaurants and such

Anonymous said:

Have you ever played Akinator, with or without the Miraculous Ladybug characters? Because I played it with Ochaco from MHA and Marinette and he guessed them within a second(can your character control gravity? Is your character a protagonist?). I even played it with myself as the "character" and he guessed "your shadow" lol. How about you?

I’ve played Akinator before but I don’t specifically remember what I was searching for lol.

Anonymous said:

The cast for the newest Power Rangers series got revealed, and I hate that as soon as I saw the Pink Ranger's bio mentioned she was an internet journalist, I thought of Alya. I really hope she doesn't have the same problems as Alya in the series proper.

fhgdfkgd journalists have been ruined for us forever

Anonymous said:

Have you noticed that in many shows, especially shonen shows, people tend to hate the most "feminine" female character? Like, in Naruto it was Sakura, in Death Note it was Misa, in My Hero Academia it was Ochaco(although a lot of people like her so I'm not so sure about that last one?). The most hated character in one too many a shonen is almost always the "girliest" of the characters. They're always claimed to be useless or reliant on a man. And this is within the fandom who should know better!

It probably didn’t help with Sakura that she was decked out in pink hair; that’s an instant girl label for you (or lesbian label, depends on the person :P).

I don’t think I’ve been in enough fandoms to have such an experience but I definitely see where you’re coming from.

Anonymous said:

Rewatching Chat Blanc and Here To Help from Star vs. and hearing Adrien/Marco tell Marinette/Star that they always liked the girls from the beginning makes me so pissed. It's not that I don't ship Starco(I do! But I also like MarcoxJanna), although I don't ship the love square, but I'm so annoyed with writers finding the need to make the audience "know" that the main ship's characters "always" liked each other, as if that makes their love for each other more true, even if it's obvious they had other crushes? Like, what happened to Kagami Tsurugi? Jackie-Lynn Thomas?

News flash: Teenagers are allowed to have crushes on multiple other people before they find "the One". It doesn't mean their love for that "One" is any less valid. And if you still want to pull the "they always liked each other since they first met", at least make it actually TRUE!!! Don't have them have crushes on other people before moving on to the "official" crush and be all like "Oh, by the way, I liked you from the start," when it's dead obvious they didn't. You're doing a disservice to the romantic "false" leads.

I'm willing to forgive Star's crush on Oskar and Tom since she's not the one claiming she always liked Marco(even though she fell in love with him LONG before he fell in love with her, which is a nice turn of events), although her "love" for Oskar was merely an infatuation at most and I personally don't see why it was needed. Why don't they just say that their old crush didn't do it for them???

UGH, I remember watching that show and being so annoyed because I really liked Marco and Jackie and wanted them to be a thing but I knew that they’d pull Starco in the end because of course they would.

It also totally makes it seem as if love is the most powerful relationship there is (aros would like a word), which is so bizarre when there are so many “power of friendship” tropes. Like, a male and female lead have to get together because their relationship is the strongest.

The love square would hold so much more meaning to me without this love drama nonsense. It’s tiring.

Anonymous said:

Have you seen Yuki Yuna Is a Hero? If so, then what are your thoughts on it? I was thinking of watching it but it seems to be another "taking away the empowerment of the magical girl genre by making the girls suffer instead" type story. I read about it on TV Tropes and apparently it's a deconstruction that takes after Madoka Magica which already puts a bad taste in my mouth, but then I got to the examples and they're basically about how girls who get magical powers lose their body parts one by one and that the reason only girls can be heroes is because "young girls have always been sacrifices".

Not to mention it was written by a man and aimed towards a seinen(adult men ages 17-35) demographic, making it torture porn for adult men. Also, both the laconic page for Yuki Yuna and Madoka Magica say "Being a magical girl sucks."(though for Yuki Yuna it adds "Unless you have the power of friendship.") and to be honest that kills any desire in me to watch the show. Should I give it a chance?

Oof.

Yeah, after bringing it up to a friend of mine, it was instantly recommended of me not to watch it, so I’d say, “no.”

Anonymous said:

Let's make one thing perfectly clear. I, love, love, LOVE Sailor Moon. And I love the transformations, too. But if there's one thing I don't love, it's that their outfits all look pretty much the same but with different colors/different lengths of gloves and shoes and stuff like that, and that they all have the exact same body type save for the one fat girl who's made to look bad. I don't like Madoka Magica, but at least they all had unique/different costumes(but they still have similar bodies).

We’re not allowed diversity here. Take your different body types to a show that cares; we’re all about femininity here and how girls can be beautiful and powerful no matter wha--oh wait...

Yeah, I don’t care for the design in Sailor Moon, but that’s because skirts don’t interest me design-wise unless it’s really unique/interesting.

(note that there’s a lot of talk about tomboys, sexism, and TV tropes and such below, and then Madoka Magica after that; that’s basically the rest of this askplosion:)

Anonymous said:

I just saw the thumbnail for a video called "Why You Should Watch Princess Tutu(Yes, I Know The Name Is Stupid)". Umm, why is it stupid exactly? Because it's "girly"? What is with people thinking that in order for a girly show to be good they have to first separate the show from its girliness in order to enjoy it? It's like how men will say a show is good despite it being girly, or that since it's good it's no longer girly. Nobody does this for boy shows, because boy things are "never" stupid.

Princess = girly thing

Tutu = girly thing

girly things = bad

That’s the formula~ They should’ve called it something edgier and manly so that more people would be interested.

Anonymous said:

I'm wary of any woman or girl who says, "I'm a girl, but I'd rather read books about guys" or "I'm a female writer but I mostly write stories about male characters". I feel like those women are the "not like other girls/one of the guys" type who suffer from internalized misogyny and don't like female characters. I also feel like they're the type to not care about female representation, because in their minds, girls shouldn't care about female role models. We can enjoy males just as much! I do!

To be fair, they might also just be writing about shirtless men doing “handsome” things. ;P

But nah, I see your point. Me personally, I try to find a balance of writing both, but I do think there can be bias.

Anonymous said:

Do you think it's okay to like a ship but acknowledge that it wouldn't be safe or healthy or condonable in real life? Because I was just thinking of how a lot of people like some really "toxic" ships like Veronica/JD in Heathers, Yuno/Yukki in Future Diary, Madoka/Homura in Madoka Magica(although some people don't like it because of its toxicity/like it but don't realize it's toxic), almost any villain/hero ship, the list goes on. But they're aware of the fact that it's not a good standard for healthy relationships in real life.

An alternative I've seen is people having a crush on "dangerous" characters like JD and Yuno, or Karma from Assassination Classroom(there's not a single video on YouTube with him in it that DOESN'T have comments full of people saying they want Karma to father their children), but still being aware of the fact that the character is a) not real and b) wouldn't be a good partner if they were real(and that's assuming they even want to be with you. But sometimes there's a good reason for falling in love with a "toxic/dangerous" character.

Take Monika from Doki Doki Literature Club! She's obsessed with the player(not the player CHARACTER, the flesh and blood player themselves) to the point of killing off all the other girls and "trapping" you in a room with her where she talks endlessly about lots of things. But she's actually a lonely girl who's driven insane by the fact that nothing around her is real. She latches on to you because you're the only other person who's real and sapient and has got a mind of their own. You're literally her outlet to the outside world.

She's personally my favorite character in the game due to her actually being a more fleshed out, sympathetic(and not in the idealized "moemoe" way), and realistic take on the Yandere archetype(which, like many moe archetypes, is kinda misogynistic in nature in that it reinforces submissiveness; it's basically animes version of "woman scorned".). So it makes sense that people would sympathize with her and want her to become real, because all she's ever wanted was to be real and to talk to real people. Especially since she really did care about her friends and even returned them back to life because she saved their backup files, taking herself out of the picture.

I read a few "Monika becomes real and lives with you" fanfictions where she's really sweet and not at all crazy and cares for you a lot, and it's never felt the same as all those other "Yandere/psycho lives with you and is your girl/boyfriend" type stories precisely because those stories tend to just glorify possessive partners that kill your loved ones, drive your family members to commit suicide, and tear up your stuffed animals and dollies for the sake of it, rather than go into why they're so crazy for you, and often reinforce Stockholm Syndrome.

Plus, those "things" she talks about in the empty room? They're actually quite smart and make you think about the world for a bit. Not many "crazy" type characters actually get that. They're all about how "I'll slice your boyfriend open with an axe if you don't date me wa ha ha", and even if they're not, it's all the fandom will focus on, to the point of ignoring any and all other aspects to their character. Because that "crazy in love" aspect is the most appealing part of them. Maybe it's due to forbidden fruit/bad boy(or girl) appeal? Who knows? But I'm starting to wonder if it's still as bad if people recognize the problematic aspects of "crazy in love" characters or "dysfunctional" relationships.

Because if they recognize it's not real and don't really want it for themselves, then it's probably not much of a problem. But if they just go on wanting it to be real and never take a step back and go "wait a minute, this isn't real love; they're only together because he latches onto the first girl to show him any kindness and affection and she's a doormat who doesn't want something bad to happen if she leaves him", then that's bad.

Obviously it's not as bad as being in love with literal stalkers, killers, and rapists in real life(which is an actual thing, believe it or not, it's called hybristophilia), because fictional characters will never be real. Karma Akabane will never be real. Yuno Gasai will never be real. JD will never be real. But loving fictional characters who do those things and not realizing the problem with it may cause people to seek out real criminals, so it's best to separate fiction from reality.

I can’t help judging a little internally, but yeah, I think people can ship whatever as long as it has that “not in real life” scenario going for it. It’s ultimately fiction, so just because I don’t like it and/or think that it’s bad doesn’t mean other people can’t ship it.

Anonymous said:

I'm getting tired of all the racists on TV Tropes getting upset whenever a trope has a Japanese name. Whether it's Tsundere, Yandere, Meganekko, Genki Girl, Bokukko, or any Japanese anime name, people will complain that the trope exists beyond anime so it shouldn't have a "cute anime name", and that it should instead just be given a broader(read: English) name with the same meaning. Or that the site is too obsessed with anime. I'm just sick of people saying that anime names are bad.

The other thing is that we don’t actually have English words for certain things? I mean, the whole reason we say, “tsundere,” is because it says everything in one word. It’s easy.

(Also, people are aware the the English language isn’t some unique thing that takes no inspiration from other languages, right? It’s a mix of things, so accept that other languages exist because we literally wouldn’t have English without them.)

Anonymous said:

Have you seen the TV Tropes reviews for "My Little Pony: Friendship Is Magic"? Holy crap, they are all a perfect example of the "Real Women Don't Wear Dresses" phenomenon that I have mentioned earlier and is so fucking present on this site. While some reviews praise the show for showing that "it's okay to be strong AND girly"(such as Hadles' review, which was really splendid), and that girl shows are no less good, others either insult the show by calling it "girly, saccharine, and stupid" as if "girly" is synonymous with anything bad about a show, or feel the need to distance it from its girliness in order to praise it as if a show can't be good if it's also girly.

Some people were saying things like "the show might seem girly at first, but it's actually a good, brilliant show with intricate plot twists, well-developed characters, and even some scary moments" and "the characters aren't just shallow girly-girls, they have depth!" So what, girliness is mutually exclusive to anything of value? One person even said that the Girl-Show Ghetto was the reason they couldn't get into the show or respect it. Just...wow.

And one review even said "Rarity's pretty tough for a girly girl!" Excuse me? Tough FOR a girly girl? So being a girly girl somehow automatically disqualifies you from being tough? Like "yeah, she's tough despite being a girly girl! Because girly girls aren't supposed to be tough."

It reminds me of the phrase "you're pretty for a black girl", which, while it's never been said to ME, I have heard other people complain about. It's sick and it hurts, just like this. And the few people who didn't say things like that still said that they couldn't get into the show at first because it looked "girly and vapid", before changing their minds and thinking that the show either proved their biases about girly shows wrong, no longer think it's girly since girly shows "can't" be good, or like it "despite" it's girliness.

And there were 70 reviews in all. 70 reviews full of this misogynistic "girly is bad" shit. So in conclusion nearly all the reviews on TV Tropes for My Little Pony: Friendship is Magic were along the lines of one of three things. 1) "This show is girly so I looked past it because girly shows are dumb." 2) "This show is good despite being girly/the characters are good despite being girly." and 3) "This show is not girly to me at all because it is well-written and captivating and girly shows aren't capable of such things."

Granted, some people there were able and willing to call out those who judged the show badly for being girly(or gave it the "not like other girls" treatment, but in show form), as well as people warning other potential viewers to get rid of any potential bias they may have against it due to it being girly. But there were still more people insulting its girliness as a reason they think it sucks or denying its girliness to justify their liking of it than the other way around.

I would've accepted it in the form of "If you think this show is bad because of its inherent girliness, then you are wrong!" or "This show is proof that a show being girly or aimed at girls doesn't and shouldn't take away from its value, as people seem to believe." or "A girl can be girly and be a strong female character.", but no, instead I got shit like this. It's especially insulting when TV Tropes is a site that devotes itself in part to critiquing sexist tropes found in media, only to turn right around and reinforce them.

I don’t read TV Tropes that frequently, so I fortunately missed out on all of these complete idiots who associate girly products with being bad.

(that “pretty for a black girl” comment makes me hate all aspects of “expectations of beauty” and it’s like--plz let these die)

I could maybe see an argument for criticizing a girls show for being “saccharine” if it were like, “girls’ shows written by men who clearly don’t know how to write girls are usually bad,” because then it’s not a criticism of girls’ shows exactly but rather who keeps being put in charge of writing them.

Anonymous said:

I get so annoyed when people get upset when confronted with the matter of female representation with "what's so wrong with one show having a male protagonist or mostly men and one/a few women? Why do we have to include women in everything?" These people clearly do not understand that one show doing it is one thing, but when multiple shows do it, it's an obvious problem. It's even worse when they turn around and diss shows with largely female casts for "not having enough men".

And as for people getting upset that "every show has to include women/come with a checkbox nowadays", as if it's bad to include women in your story...look around. Women make up 50% of the population. They're literally everywhere. What reason do you have to not include a substantial amount of women?

These people act like male is the default and women are a last resort. They see no problem with men dominating a cast because it's justified(despite that not reflecting real life), and yet having female characters, or, hell, a female-dominated cast(I know they also don't reflect real life, but there are still female-dominated spaces; most colleges are 2/3 female) is "unrealistic" trying to fulfill a quota, or a straw feminist agenda, as if characters can't be female for their own sake. You shouldn't have to be forced include women because their presence should be a given.

How many stories nowadays take place in the war front in Viking times or whatever? A lot of men just don't want to include female characters or see them represented(well) in media because those who are overrepresented tend to want to stay that way. They likely also have insecurities about their masculinity and are worried about female characters flooding their shows with estrogen and ruining the shows they love, because they can't relate to female characters or enjoy shows about them without negating their girliness(ie. This show seems girly, but it's actually good), since they're ashamed to associate themselves with anything feminine due to looking down on women or seeing them as bad.

Plus they want to be the center of everything so the second a show is about mostly women they get upset and claim it's "sexist against men" because it's not about them. Hence why bronies(bless their souls) are made fun of for the grave sin of enjoying a female-centric show with a female protagonist and largely female characters. Granted, there are some freaky fans, but there's still some sexism at play here.

This reminds me of a post I saw about a boy who actually looked up to female characters because you can pick a role model who doesn’t fit your gender. Crazy concept, I know. ;P

And yeah, that’s how it goes with equality. People who are best/most represented don’t want equality because they think it means less for them and they don’t want that, like a child who doesn’t want to share their cookies with everyone else.

Anonymous said:

I love TV Tropes, but if there's one problem I have with it, it's how often it associates femininity with weakness. The "Masculine Girl, Feminine Boy" trope is a good example of this, but the worst offender in my opinion is the Girly Girl With a Tomboy Streak, as most of the examples there are simply of girls who are strong-willed or fierce or can fight. Because you know, those traits are male. It's bad because there are ALREADY tropes for girly girls who can fight, Girly Bruiser and Lady of War (which TV Tropes even goes out of its way to SAY shouldn't be counted as a "Tomboy Streak" and yet does stuff like this), but it's also bad because ANY girly girl with these qualities, no matter how feminine they are otherwise, will be seen by TV Tropes as having to be at least somewhat tomboyish(read: masculine) in order to have those traits. Because regular girly girls are just weak and fragile and only want to be housewives.

It's even worse when you realize that much of these characters are created with the exact purpose of subverting the stereotype that girliness equals weak, and instead present a new and more empowering form of femininity: that femininity is strong and DOES NOT equal being a passive sex tool for men's pleasure. They're MEANT to show that being a tomboy is not the only way to be strong, and TV Tropes acknowledges that! But then they also go and claim these characters have "Tomboy Streaks" thus undermining the positive message by insinuating that you have to be tomboyish to be strong and that even girly girls have to have some level of masculinity to be deemed respectable and equal human beings, plus manipulating many impressionable folks into thinking strength and bravery is automatically tomboyish.

Worse yet, they often put a character here because "she's a big eater" or "she burps/farts a lot". Gee, I didn't know women had bodily functions? I didn't know women had digestive systems? So basically any time a girl shows that she is a human being and not a pretty, passive doll to be idealized, she is acting like a man. Because only men are fully-fledged human beings. Even outside of that, look at basically any masculinity-femininity contrast trope(Tomboy and Girly Girl, Sensitive Guy and Manly Man, Masculine Girl Feminine Boy, etc.). The "masculine" character will often be described as dominant, assertive, or outspoken, and the "feminine" character will often be called weak-willed, passive, emotional, and timid. It's fucking sickening.

The Tomboy With A Girly Streak trope is similar to its inverse in that a tomboyish girl will often be placed under this trope with their proclaimed "girly" streak being that she's tender or cries a lot or is soft spoken/a doormat. Because being girly is about not taking up too much space, not having any ambition or aspiration, and overall being a weak and shallow waste of space. For a site that claims to dismantle such sexist misconceptions, it sure does reinforce them just as much.

I almost want to stop using TV Tropes based on that and many other reasons, but it's a genuinely informative site that at least tries to avoid these stereotypes(plus it's edited by more than one person), it just doesn't do enough. For example, they made an awkward claim once that women can't fight while on their periods, and even have an Improbably Female Cast trope, as if it's abnormal that a cast could consist of mostly women and demands an explanation. To them, femininity=inferior.

And then in comes the “anti-girl tomboy” characters who basically do everything “girls don’t do;” glares at things like make-up and such, rolls eyes at the subject of “girl talk” or “romance,” drinks anything carbonated and spreads their legs wide open, etcetera.

Guys really don’t get the same version, at least not that I’m aware of? Like, at best, they don’t participate in “guy things” but that’s about it.

Having characters acknowledge it just makes everything more blatant, like if a woman comes by and the guys have to assure “DON’T WORRY, SHE’S LIKE ONE OF THE GUYS.”

It’s like a woman can only hang out and engage in “guy talk/time” (the concept of which I hate but that’s besides the point) if they can crush a beer can against their forehead.

Anonymous said:

OMG TV Tropes called Cirno the Ice Fairy from Touhou a "tomboy"? Why? Because she's boisterous and outspoken and not a "shy girly-girl" like Daiyousei! TV Tropes clearly believes that any girl or woman who is more than just a pretty face(which ALL women are, by the way), who takes up space, who has a dynamic personality and isn't just a weeping wallflower(which I'm not saying Daiyousei is) is a tomboy. Because she's acting like a man that way. Ugh, so over TV Tropes and their sexism.

And all the girls in Touhou(including Cirno) wear big frilly dresses anyway so it doesn't really make sense to see ANY of them as tomboys. But no, apparently any girl who is rowdy or tough or is active and not passive is a tomboy. You gotta be a tomboy to have attitude. You can tell they think so because they often say things like "strong, but still feminine" as if those things are opposites. They even described femininity as "weak and susceptible, vain and superficial". Like, ugh, kill me now.

I legitimately want to see a bullet point list here of what qualifies as a “tomboy.” Like, what, anyone who does one thing that isn’t “girly”?

Can we just throw out all of these terms; not even replace them, just throw them out?

(the below ask is incomplete - the first part is missing - but the asker clarified after I asked them, so clarification is below:)

Anonymous said:

Tropes is because I'm working on a story and I hope when it becomes famous that TV Tropes will write about it, but as it stands, I'm beginning to wonder that TV Tropes undermines most stories or plots to do with women one way or another. I mean, they constantly create tropes with the intent of calling out inherent biases, yet reinforce those biases themselves.

For example, they have a trope called Men Are Generic, Women Are Special, which points out the bias of male being the default, and yet on almost every other page on the wiki describing a trope, the default character will be a "he"(especially if it's a character trope), and whenever they mention "The Hero" or "The Big Bad" it's always a he unless it needs to be female(like if the heroine is in a romance story, or if the villain is a seductress). Female characters at best, can hope to be "The Heart" or "The Chick" of the group(which is often used in a demeaning way).

They even have a trope called "Improbably Female Cast" in which they point out all the instances of a story's setting having an "over-abundance" of women or girls with no men in sight, and claim that such stories have majority female characters when it is "unusual" "unlikely" or "lacks justification". Someone even suggested that the trope should be called "Where Are All The Men?" as if there's something inherently weird or wrong when a story is dominated by female characters, and like the story is in dire need of men, as if only men can be protagonists.

Even if the story has a justifiable reason for having mostly women, the fact that the writer made that choice at all is somehow deserving of mention. The mere fact that there's no "Improbably Male Cast" trope shows where the site's biases lay. They don't see anything wrong with a show being dominated by men with little to no female representation(ex. Death Note), and yet a show dominated by women(ex. MLPFIM) is somehow an anomaly and demands an explanation(even if the story does provide a reason for it, TV Tropes will still list it and presume it "improbable", as if to say "I mean, yeah, but there's no reason why you couldn't just make them mEn instead", as if writers who have mostly female characters are going out of their way to steer away from the "default" males.

In fact, they even admit that "Men Are Generic, Women Are Special" is their reason for having such a trope, but not the inverse. They even say that it's not the trope if the show revolves around a group of girlfriends with no indication of the gender ratio in the wider setting. So any time the females outnumber the males a story it's instantly labeled "improbable" because there's NO WAY any setting AT ALL could have more females than males. That's improbable! You see, this is why when women are 1/3 of the people in a given space men perceive it as "majority female" because they're uncomfortable with women having more of a presence than men.

We'll never have true equality if shows with majority female casts continue to be scrutinized under a microscope and assumed to be of inferior, lesser quality, just because there's no male characters around and it's women who are driving the plot. My problem isn't that they have a trope for majority female casts, it COULD be a testament to gender equality(ie., "there used to not be a lot of shows revolving around women, but now they're becoming increasingly common and well-known), but it's that they single out such stories as "unlikely" and thus discredit them.

And worse yet, they refuse to change the name, because they don't see a problem with it. So now every single show that doesn't have an equal number of males and females or more males than females is going to be called "improbable" by TV Tropes, because there's something(bad) to be said about shows that choose to make most of their characters women. Death Note and Naruto can slide by the radar of having loads of men, but Madoka Magica and Touhou are "improbable"? Because they have loads of women?

the clarification:

Anonymous said:

I started out complaining about how TV Tropes says that boys will watch Star Vs. The Forces of Evil only because of Marco(who's great, but it comes off like boys can only relate to boy characters) and that the show only looks girly but has a deep complex plot with scary moments(as if a show can't be dark and complex and still be girly; girly=shallow, watered down fluff), hence my complaint about TV Tropes undermining girly shows or anything "girly".

Yup, exactly like I said.

Good stuff in “girly” things is the exception. Good stuff in “manly” things is expected.

Which is funny when you consider stuff like “edgy” reboots of things. Like, Disney remakes their original movies and that usually means making them worse (like in Beauty and the Beast - god I hate that remake - where the objects are going to become complete objects when the last petal falls even though the enchantress is explicitly a good person and it comes off as super cruel and unnecessary), but that seems to just be its own breed of bad I guess.

Then there are terms like “chick flicks” and “soap operas” which are usually women-oriented and tend to be considered dumb/over-dramatic.

You know, not like MEN shows with their sexualization of women, guns and MEN things.

Anonymous said:

Remember what I said about TV Tropes being sexist? Well, they also have a trope called "Girly Run". Like, that's literally the name. Girly. Run. Thankfully the first example(which is under advertising due to the forms of media being in alphabetical order) is an aversion from the blessed Like A Girl campaign, but...just reading the page lets the casual-yet-bold-faced sexism speak for itself.

why can’t things just be like the Sims where characters can wear whatever the hell they want and have any personality without any judgment or criticism from other Sims?

(more Madoka Magica talk - and ONLY Madoka Magica talk - below because I’ve unleashed a monster apparently:)

Anonymous said:

I know you don't like Frozen but I saw a theory somewhere that Elsa's powers came from making a contract with Kyubey and her wish was to impress her sister and anyway I can't stop rolling my eyes. This isn't(just) because of my distaste for Madoka Magica compared to my love for Frozen, but if Elsa's a Puella Magi then why didn't she become a witch long ago? How did she make it to adulthood? How did she become emotionally stable? And why do her powers have to come from a negative source?

I think it might just be people looking for excuses to do their crossover fanfiction which--yeah, I’m not crazy about that.

Anonymous said:

Did you know that Cristina Vee voiced Homura Akemi in the English Dub? It's very noticeable, especially during the Cake Song, where I could've sworn she sounds exactly like Marinette. By the way, I'm still not sure what the hell was going on in that song. Could you please explain it to me(if you know)?

Nooooo don’t make me think of Homura when I think of Marinette!! fjkdgjnfdg

lol but seriously, I think the Cake Song is just meant to be one of those “weird but meant to be dEeP” things that shows do sometimes to be cool (not a criticism technically; depends on how it’s used).

I think the cake is the labyrinth and Homura saying that she’s the pumpkin makes her the odd one out since pumpkins are associated with scares and halloween, so it’s “foreshadowing” her being the witch. The things that they say they are... they’re like--ingredients for a meal, but not a cake, so the the cake is the labyrinth and they’re the things that would go inside it.

Homura and Madoka are the only ones who really get descriptions to go with them. Homura says that she’s “full of seeds” (despair?) and Madoka implies that it’ll bring sweet dreams once she’s sliced (which is either referring to the godly freedom given to magical girls before they turn into witches, or foreshadowing Madoka being “split” after Homura stops Madoka from purifying her, leading to Homura’s “sweet dream” of what it’s like when everything is “normal” after her reality twisting).

Anonymous said:

May I ask what you don't like about Kyoko's character? Is it because she was the stereotypical "jerk with a heart of gold"? Or because the writer made her flip from hating Sayaka and wanting her dead to suddenly dying for Sayaka even though she barely knows her compared to Madoka(because the writer doesn't understand how girls' relationships work)? For me it was a mixture of both(though I still don't mind KyoSaya!), but I still liked her enough, she just felt a tad stereotypical. Your thoughts?

It’s both. I just don’t like characters like her at all and the runtime of Madoka Magica can’t maintain all of these characters, “developing” them, and then killing them off. I don’t even have any time to get attached to them because they’re dead within a matter of a few episodes.

And it’s always like, “okay here’s this character’s backstory to make you feel emotionally attached--HA NOW THEY’RE DEAD. SEE??? WE TOTALLY GOT YOU.”

Like, no, you didn’t. I didn’t even have time to care about THEM, much less their actual death.

Anonymous said:

What about the girls in Madoka Magica? Do you think they're strong female characters? Now, obviously the show is not feminist, since it misses the whole point of Magical Girl, which is to empower girls and show them that girls can be powerful and feminine and can find strength in solidarity with each other by instead making them suffer and fight each other and have their power come from their emotions, which are exploited and turned against them because women can't be powerful, but still...

It’s the same way I feel about Marinette; there are some who I want to say are strong characters, but the writing is ready to just kill them off at any time and bully them for essentially having emotions.

Basically, imagine a male writer hands you a character sheet and is like, “AW YEAH CHECK OUT THIS sTrOng FEMALE CHARACTER I WROTE.”

Like, even if they were right, their ego and obnoxiousness about the whole thing, along with what they actually do to said character, makes you not want to give them any credit for it.

Anonymous said:

How do you think Puella Magi Madoka Magica would be different if they had magical boys as well(which can mean either gender-bending canon magical girls or introducing original magical boys)? Do you think the show would be better? Worse? Or would it be just about the same?

Personally I feel like having magical boys would be good and bad; good because there would be no more of the “teenage girls are hysterical” crap and it wouldn’t just be girls suffering because they can’t handle power, and bad because it would still be problematic(for stereotyping all teens as over emotional and deserving to be taken advantage of by the Incubators, and it would still be about kids suffering in a genre meant to empower girls, having some of them be boys wouldn’t help that much).

I also feel like Gen Urobuchi would still make the girls suffer more and have them be more emotionally and mentally unstable. Holy crap it feels like he read up on Aristotle’s views on women while making this show.

It would at least be more balanced I guess? Like, teenage years are a fragile time, so it would make sense for both girls and boys to be taken advantage of. I still wouldn’t like it but it would be nice to point out, “there are emotional boys as well as emotional girls.”

Anonymous said:

Literally all the problems with Treatment of Marinette, Chat's Entitlement(TM), and the sheer sexism in general(ex. all the teenage girls and even women villains being catty and bitchy, while the male villains are cool, suave, and calculating; female villains being irredeemable scum while male villains are "not as bad as they seem", etc.) could all be solved if the show just got some more female writers! You know a show isn't feminist like people claim if none of the writers are women.

That's what I love about Friendship is Magic; the show is written and directed by a woman and actually has a variety of both male and female writers! Plus, Lauren Faust explicitly identifies as a feminist and claims her works are meant to empower women and show them that there's no wrong way to be a girl. And the show reflects that! There's no "token girl" who checks all the boxes; the females have realistic flaws, diverse personalities, and let's not forget ARE THE HEROES!!! Not to mention that the cast is actually PREDOMINANTLY FEMALE. Do people have any idea how refreshing that is?!

And that's why whenever people claim that shows like Madoka Magica are feminist when it's written by men for men while also dismissing actually feminist shows written by women for women as "sexist" or "demeaning", I cringe inside. It's not just what the show looks like, it's what the people behind it say.

And Gen Urobuchi is not a feminist. At all. Just listen to the things he says about the girls, that they're terrorists who are full of hubris and destined to be alone, and that actual magical girl shows weren't his inspiration beyond the show's cosmetics, he just based it off of porn games. He only watched those shows after making Madoka Magica and admitted they were weird to him. Well, maybe they wouldn't be weird if you actually used them as inspiration! Why are you even making magical girl? So basically he admitted that all the suffering the girls go through is because it's his fetish.

I knew I wasn't imagining things when I saw all those weird shots and angles(ex. zooming in on Sayaka's thighs and breasts when she collapses to the floor, Madoka gripping the bed sheets between her legs when agitated, zooming in on Kyoko's ass when she takes her phone out of her shorts' back pocket, it's all for cheap titillation). And yet people keep saying the show is devoid of male gaze and sexism and why? Because apparently men know how to represent women better than women themselves.

you said “Madoka gripping the bed sheets between her thighs” and it gave me an immediate flashback, I hate it

I find that it’s a similar thing with gay anime/manga; I’m more likely to trust a F/F story if it’s written by a woman since they’re less likely to sexualize everything.

Anonymous said:

Homura in Puella Magi Madoka Magica: But Madoka, what's going to happen to you? You'll end up all alone here forever! You'll never be able to see your friends and family! Homura in Rebellion: Haha, screw Madoka's friends and family! Only I am worthy of Madoka's love! That girl belongs to me! MWAHAHAHAHA!!!!!!!!(I'm sorry for the over exaggeration, but this is how it felt for me.)

Apparently, it was better for Madoka to just have all of her memories and powers yoinked away.

Sayaka is Madoka’s right hand girl so idk why Homura has this idea that she needs to sAvE Madoka. The fact that this whole thing comes out of a misunderstanding (because Madoka doesn’t have her memories) is so irritating.

Anonymous said:

I actually love Madoka Magica, but I completely agree with you on the hysterical women thing. Why couldn’t they just have... both magical girls and magical boys? Like, just mention that magical boys are a thing? They don’t even have to change anything but that, they don’t even really have to show it, just be like “yeah there’s magical boys too but that’s not really what this story is about, it’s about our characters we have here”. I don’t know, feels like that would have at least helped stuff.

Yeah, they don’t have to bother having the magical boys around. Just to know they exist would be enough. I mean, the fact that the focus is on them would still be bothersome (they’d probably do a thing where each girl represents a different emotion that is easily manipulated/easy to control), but it’d be something.

Anonymous said:

One thing that weirds me out when people are talking about Madoka Magica is when people refer to the characters as "little girls". Like, excuse me? They are not "little girls". They are teenagers! All of them are at least 14 years old! I hate when people call them "little", it's just so condescending and infantilizing, especially when the show does enough of that to them already. After all, no one makes that mistake with the heroines of Lucky Star and Hidamari Sketch(who are also drawn by Aoki)!

I feel like it’s the equivalent of when people call women “girls,” y’know? Sort of a “treating females as younger than they really are,” which is probably what gives guys the feeling that they have control.

For a gender that claims to be so dominant, certain ones sure have to delude themselves a lot to make themselves feel better.

Anonymous said:

I was thinking about what you said about Puella Magi Madoka Magica passing the Bechdel Test, and if it counts if there's barely any men to talk about. And while I do agree that it counts, I also feel that it doesn't really matter much in shows such as Madoka. This isn't even about feminism, this is about the fact that if a show has next to no men in it at all then it's pretty much a given that they won't talk about them since it would be impractical to talk about something that doesn't exist.

So because of that, I think there should either be an alternative test which only applies to shows that have a significant or equal number of male characters and yet the ladies still pass the test(making it feel more "real" since the option to talk about men is there), or the test should be rewritten entirely so that it only applies to shows in which the cast is either equally gender-split, or has a majority male cast/significant amount of males even if the females still outnumber them.

Reminds me of how, on TV Tropes, someone suggested that there should be a "Weak" and "Strong" Bechdel Test, where "Weak" refers to the women talking about something other than men because it is literally what's relevant at the moment(such as two female police officers discussing how to catch a female killer), thus applying the Bechdel Test there seems semi-void, while "Strong" is when they could talk about men but choose not to(ie. two female students talking about their grades during lunch).

And just to clarify about the "Strong" one, when I say they could talk about men but choose not to, this isn't to imply that female characters should talk about men, or that something's wrong with them for not talking about men, just that there's nothing stopping them from doing so, but they choose to talk about something unrelated to men. I think this strategy is much better than the test we have because it makes conversations between female characters seem more real since they're discussing things other than men of their own volition, rather than the non-male-centered talk being because they have to talk about it in-universe. I say that because The Bechdel Test serves to show that women's lives don't and shouldn't revolve around men, and they can talk about other things if they want to, but if the conversation is because they have to(like the example I gave), that gives sexists the opportunity to go "Yeah, well, they're only talking about it because it's their job!"

But if the female characters talk about things other than men of their own free will(as in, when the option is still there), then it shows that women really do have their own free will to talk about their own things and that there is NO REASON to not pass the Bechdel Test in today's day and age(I keep hearing people claim the test is stupid and doesn't matter, but then it should be easy to pass). "Oh, but if they had the choice, they would talk about men." No, because men don't sit around and talk about the women in their lives all day so why should women talk about the men in their lives all day? And to the people saying these types of tests are getting in the way of their "creativity", well, now that we know that you think female representation is stupid and something you have to be forced to do, we don't have to listen to a word you say. ;)

I like the idea of adjusting the Bechdel Test for other circumstances and expanding it as such!

You could also extend it to things like sexualization, because--I mean, having two female characters who talk to each other probably doesn’t mean much if they’re half-dressed or the writer wanted to make them bisexual for “The Fanservice.”

Anonymous said:

To be honest deconstructions of Magical Girl confuse me. There are some good ones out there(such as Princess Tutu and Revolutionary Girl Utena, so I know they're not all just torture porn, my only gripe with Utena is the implication that girls who take on the feminine "Princess" role are weak), but at its heart Magical Girl has always dealt with death, gore and pain just as much as female empowerment.

It makes me feel like the people who write these stories haven't seen magical girl and think it's all just sunshine and rainbows and that just because it's "girly" it's vapid and has no substance, and since the only way to have substance apparently is to be "dark", they go "screw it with all this princessy magical shit! Let's make our show dark instead!" When in reality if they had just sat down and watched a magical girl anime, they would understand that this is not the case.

Not to mention that many of them tend to have fanservice and the idea that magical girls have to suffer, so instead of empowering young girls, they end up misrepresenting the genre and turning it into fetish fuel torture porn for adult men(Madoka Magica and Yuki Yuna are very good examples of this; the writer of Madoka says that the girls are terrorists and full of hubris and that he was inspired by porn games). It's not that you can't deconstruct the genre at all, but it's almost never done tastefully and the magical girl themes are just a cover used to explain the suffering the girls go through. :(

Another thing about magical girl deconstructions is that they often reinforce patriarchal themes, like that girls shouldn't want things for themselves and that genuinely doing something for someone while also having ulterior motives that help yourself are a BAD BAD BAD thing, no matter how ultimately harmless they are, even if they help everybody involved. They also tend to reinforce Tall Poppy Syndrome and portray the powers as harmful or a bad thing, implying that girls shouldn't have power.

Honestly, I think there can totally be even more substance in magical girl anime that doesn’t have to resort to “make it eDgY” (which I feel like is a slippery slope that can easily come off as lazy); for example, I’d really enjoy seeing something deeper to magical girl powers than something like, “oh, this magical girl happens to have the power that fits their personality,” such as a magical girl who has a power she feels she doesn’t fit but it’s a matter of perspective/seeing herself differently, or a magical girl who does have the powers that “fit” her personality - like a “fiery” girl with fire powers - and the weaknesses in her powers correlate to the weaknesses in her personality, so she has to either iron out those issues or find workarounds, as true “perfection” isn’t possible nor practical, which is something all the girls have to accept despite whatever pressure they’re under.

.I dunno, I like lore and powers revolving around metaphors. It’s fun.

Anonymous said:

About what you said in regards to "no pueri magi because it doesn't hit the shock value threshold enough", I remember this interesting comment I saw on an article called "The Problem With The Dark Magical Girl Genre"(which I would totally recommend checking out, by the way!) which said that shojo magical girl and seinen magical girl both embrace a different philosophy regarding strong female fighters. In shojo, they tend to embrace femininity as a strength and show girls that they have the power to do whatever they want and undergo dangerous professions. But in seinen, which conveniently enough is more likely to "deconstruct" the genre(ugh), rather than admiring the girls and supporting them in their endeavors, the girls are meant to be pitied(often to the point of infantilization) when bad things happen to them, with the fact that they are girls serving to make everything worse. It operates under the idea that girls are fragile, in need of protection, and shouldn't be fighting at all.

That's why deconstructions like Madoka Magica and Yuki Yuna don't sit right with me, and also why I don't consider them feminist series. People can say whatever they want about Sailor Moon and Pretty Cure, but ultimately they also had dark and dangerous themes(to the point where some kids had nightmares), but ultimately allowed the girls to rise above the hell they went through and find the strength in them to save the day. We feel bad for them when they die, not because they're moe girls, but because we were actually given the time to form a connection with them and want to see them succeed, rather than just be expected to pity them because they're cute manipulated girls. That way, when they ultimately save the day, it's all the more satisfying. Princess Tutu was a deconstruction that actually went about it in the right way, because the girls eventually found the courage to defeat their enemies in a way that made sense. Why the hell is it a "good" thing to subvert that?

No clue, but I basically agree with everything there. I mean, Madoka Magica’s entire stick is basically that all the girls are like “uwu” in terms of the style (with Madoka being the “cutest” of them all) and then being put in this dark and edgy plot+setting; it’s for both the shock value and the “contrast” of having “moe” characters be thrust into these situations to essentially die.

And the conclusion doesn’t end up being satisfying (at least to me) because the villain doesn’t have emotions so he’s just like “owo” (seriously, I wouldn’t hate on Rebellion so much if Kyubey had been given emotions rather than going crazy; Homura can basically do whatever she wants and it was SUCH A MISSED OPPORTUNITY) so it ends up being more about the journey getting there like wow look at all the sUbvErSiOnS and dEaTh we had along the way!

Because at the end of the day, it’s still like, “the girls give into their ‘hysterical emotions’ in the end basically no matter what,” even if they get saved by Madoka in the end.

Anonymous said:

Do you remember, in Madoka Magica, when Kyubey said that humans would still be living in caves if not for the Incubators? First of all, keep in mind what Incubators do. Their entire purpose on this earth is to feed off the emotions of young teenage girls as they spiral into despair as a result of their delusions of power. Like wow, let that sink in. Apparently humanity's advancement relies on the exploitation of women. We are literally the punching bags of the universe. Isn't it lovely?

No! You see--we’re so important to the world! If we weren’t emotionally exploited, the world wouldn’t be the way it is now! :D

(kill me)

Anonymous said:

I once saw a tag on tumblr that read "The only good magical girl anime is Madoka Magica because it's gay, and even it has problems." Like, ugh. Really? Has this person not watched ANY other magical girl anime? Such ignorance. So many things wrong with that statement that I can't--and WON'T--even begin to unravel here.

MADOKA MAGICA IS NOT GAY AND I’M SO TIRED OF PEOPLE CLAIMING IT IS

s T O P

I DON’T EVEN CONSIDER YURI ON ICE TO BE GAY. MADOKA MAGICA? NAH MAN.

Anonymous said:

Do the girls in Madoka Magica even have transformation phrases? You know, like how Marinette says "Tikki, spots on!" or how Sailor Moon says "Moon Prism Power! Make-up!" or how Iris in LoliRock says "Iris! Princess of Ephedia!" etc. But in Madoka Magica, there doesn't seem to be any of that. At least in Yuki Yuna they pressed a button on their phones. But how do the Puellae Magi even transform? Just goes to show you how Gen Urobuchi knows next to nothing about the genre he claims to deconstruct.

Transformation phrases are magical and cool and you can’t take that away from me.

Anonymous said:

I had a shower thought about Madoka randomly in bed last night: If a Magical Girl's Soul Gem loses control over its user when 100 metres or further away from it, that meant that when Homura got Sayaka's Soul Gem back for her, Sayaka should've regained consciousness once Homura was less than 100 metres away, even if she didn't have her Soul Gem yet. I also love to ponder why on Earth Homura would even bother retrieving Sayaka's Soul Gem if she only cares about Madoka and Madoka's well-being.

I think it’s just a complicated process of Homura trying to make sure Madoka doesn’t fall into despair herself (in a non-witch way) and is convinced to make a wish.

Anonymous said:

The more I think about it, the more I realize that Sayaka really got the worst deal out of the whole thing. While her story may seem more "mundane" compared to the others(she just wanted the token Ill Boy osananajimi to like her back), she's the only one who somehow isn't brought back when Madoka recreates the universe, loses her Soul Gem on more than one account(and on the second, she starts decomposing and her crush sees her and calls her a monster because he thinks she's pretending to be the REAL Sayaka), is supposedly the weakest Magical Girl, getting swiftly taken out by both Kyoko AND Homura(the latter of which doesn't even make sense, if her body can heal why was she taken out so quickly?), takes a long while to show up in Magia Record, and Gen somehow finds it suiting to single her out as the one who is "destined to die" every time she makes a contract. Apparently the series director wanted Sayaka to live/be brought back, but Gen refused because it just had to be edgy.

Of course, MEN are allowed to have wish fulfillment power fantasies and dream like the sky's no limit and aspire to be all they want to be, but the second WOMEN try to be the strong ones, the powerful ones, or dream of something for themselves and others, they have to learn a lesson about how unrealistic their fantasies are and how they'll never live out their dreams. Hence why Sayaka puts the blame all on herself, saying that she's not a hero and was stupid and selfish the whole time.

"token Ill Boy osananajimi“ dfhbgjhfdgdfg

It was a real shame because I liked Sayaka somewhat (not saying much but still) and she was such a predictable one to go. Like, “oh wow, an angst-y anime all about shock value? so basically the best friend is dead then with no chance of survival.”

I think I do remember being told/reading somewhere (so don’t quote me) that Sayaka is the one that’s hardest to keep alive in the games, so you have to work hard for it. It just sucks.

Anonymous said:

Yet another thing that bothers me about Puella Magi is how the show frames the young ladies as if everything is their fault even though they have no idea what they're getting into because the person who makes the deal doesn't even bother explaining shit to them and all the show's attempts at deconstructing is just taking lighthearted elements meant to empower girls and show them that they can be brave and strong as well as feminine and make them dark and morbid.

Like, I get the whole "having young girls fight is a little unrealistic" aspect, but most magical girl shows actually do touch on that! Only difference is that over time, they become stronger and better at fighting(which is only to be expected, whether you're a teenage girl or not) and become more competent along the way because the whole genre is about FEMALE EMPOWERMENT.

Not to mention how the show seems to forget that the Incubators are villains and even seems to put them in the right and the girls in the wrong, what with the claim that they rationalize with the girls they make contracts with like sentient human beings(yeah, because emotionally manipulating young girls and literally taking their souls out of their bodies and making them liches without their consent is definitely treating them like sentient human beings), and that they always follow up on their end of the deal whereas it's the girls' faults their wishes go sour because they never wish for what they truly want(I'm sorry, but I simply DO NOT buy that. Homura and Mami outright wished for what they wanted. Their wishes went sour because the plot "decided" that they should have wished in a different way; plus, you're telling me that if Sayaka had outright said she wished "for Kyousuke to love her back" that the show wouldn't just "make" him mind-controlled or have Sayaka "outgrow" her feelings by the time he falls in love with her, all the while making it out to be "her" fault he's so heartbroken because she was some kind of tease or whatever, further demonizing girls' sexualities?).

Plus they explicitly claim that every woman in history was a magical girl and that without them, humanity would still be in caves(as in, humanity wouldn't be able to progress without the oppression and exploitation of women, and women can't gain power without going insane because female power is some unhealthy, inhuman, infernal thing.). Even if we take this all as a reflection of patriarchal society(which I highly doubt it was, if anything, it reinforces it), all it does is imply that the oppression of women is the natural order of things, required even.

As for the girls themselves, they routinely beat themselves up and the show makes no effort to tell them they're wrong(up until the massive cop-out of an ending), like how Sayaka's last words before becoming a witch are literally her "admitting" that she was "stupid, so stupid" for wanting a boy to love her and be healed of his infirmity. It just seems like we're supposed to think "you know, maybe the Incubators aren't that bad!" while ignoring that the girls are being treated like the disposable trash bags of the universe. This show already does the magical girl genre dirty but treating it like everything the Incubators did was necessary and like it's all the girls' faults these things happened to them in the first place is the icing on the stale, sour cake. Nothing like a giant heap of sexism to help get you through your day. :/

I’ve noticed this a lot in Miraculous, but Madoka Magica somehow does it worse; this “one (supposed) mistake leads to all of these consequences you never saw coming.”

Like Ladybug calling Lila out. We know that Lila’s pettiness in “Chameleon” shows that it wouldn’t matter whether Ladybug yelled at her or not; the simple fact that Marinette opposes a liar led to Marinette getting expelled, even if only for a while. Then there’s “Miracle Queen” and all that garbage that came with it.

These two shows put their teenage girls through hell for having emotions and there’s no way to undo it.

Anonymous said:

Honestly, the Madoka Magica fandom is basically the magical girl equivalent of "not like other girls" type women. I can't say I'd be surprised if they didn't watch a single magical girl show other than Madoka because they're all "stupid and girly but this one is edgy and dark" just because those shows are written by women to inspire other girls and show femininity as a strength while Madoka Magica is written by men for men who want to see young girls suffer without any actual feminism.

Like, let's go through their arguments one-by-one to prove that they don't hold up. They love to say that Madoka Magica is better than other Magical Girl shows because "it's dark and edgy and shows the downsides to being a Magical Girl unlike other shows where it's all sunshine and lollipops". First of all, other Magical girl shows also got very dark. Princess Tutu and Utena are also "darker" takes on the genre, but even more lighthearted shows like Sailor Moon and Precure had scary moments.

The only difference is, with them, they still managed to critique problematic aspects of the genre and actually provided ways to improve it, while STILL managing to keep their target audience(FEMALES) in mind, without condescending to them and infantilizing them. And they still showed the girls being empowered and overcoming the darkness.

In Madoka, there's none of that, there's no actual critique of the genre because Gen didn't have the respect for it to do his research, it's aimed at men so it doesn't keep female viewers in mind by definition(which is also another reason why it can't be a deconstruction; deconstructions should be done FOR its target audience), and the girls are constantly put down and treated like Moe crybabies by the narrative even when they're not(cause, you know, teenage girls are "emotional"!). And it doesn't offer ways the genre could improve, it just takes a female-empowering genre and twists it to be this system of oppression that the genre is meant to avoid.

Magical Girls tend to have a very strong focus on girls empowering girls and all that awesome stuff, and yet when Madoka and Mami form a special bond and Madoka encourages Mami by telling her she's not alone? It makes her big-headed and overconfident and she gets devoured by Charlotte. See what happens when girls rely on each other? Madoka is Sayaka's best friend, but gets pushed aside in favor of Kyoko, who later dies for Sayaka because girls who want to help each other had better be prepared to suffer and die for their beliefs. Sayaka loses everything, which happens to include her best friend, over a guy. And the whole witch process means that any female solidarity that could be found in the show is thrown out the window since the core concept of the show is girls being forced to brutalize and kill and exploit each other.

People act like Madoka is Yuri when it's not, Gen was asked if Homura really was in love with Madoka and if Kyoko really was in love with Sayaka, and what did he do? He beat around the bush. Naoko Takeuchi and Kunihiko Ikuhara(the latter of whom also worked on Sailor Moon R; woah, what a surprise) both admitted that there was gay love in their stories, yet people act like Madoka is super progressive regarding homosexuality when it's just implied and those shows were MUCH more open! Doesn't stop people from claiming the show is "honorary yuri" and saying that the meaning of "yuri" should be broadened to include any close bonds between two female characters, whether or not it's actually romantic, AND favoring the show(and HomuMado) above actual yuri shows that are made to appeal to women. If all this were actually valid, Sailor Moon would be yuri as hell.

I hate seeing people fap over this show and act like it's so revolutionary for recycling things that the genre was ALREADY DOING, because I know full well that the ONLY reason it gets this wide acclaim is because Magical Girl shows have traditionally been written for women and this show is aimed at men. That's literally it. Because nothing a woman writes is good enough, especially when it dares to go against patriarchal constructs of femininity as weak and docile by portraying it as cool and awesome. It doesn't matter how cool and dark and diverse and inclusive and complex Sailor Moon and Precure and Princess Tutu and Utena are, they're written by/for women with the intention of empowering them so they're automatically invalid, cheap, happy-go-lucky crap where nothing bad ever happens and anything those shows try to do ought to be discredited because they don't appeal to men like they should so what's the point?

But the second a MAN comes in and intrudes on a female-dominated space by doing all of those things but with a very shallow understanding of how they ought to be executed, people are all over it because a MAN did it and now it's interesting and respectable! I have seen so many people say that they don't like Magical Girl because it's girly and shallow and stupid, but then they praise Madoka for things that the girly and "shallow" shows have already done! Men are always taking away things meant for women and distorting it to fit their patriarchal views and yet when they do it it's somehow better and anyone who complains is simply a whiny straw feminist!

The fandom does it all the time, someone complains about the show and why they don't like it and find it sexist, and the response is always "you're just not smart enough to understand it; you have no idea what you just watched". Because obviously since it's made by a man it's sooo much smarter then the traditional sappy stuff made by women. That's why it's so annoying when others praise it at the expense of other works in the genre: they know their reasons for liking it are, more often than not, rooted in sexism against female-aimed and female-empowering works, so the only way they can praise it is at the expense of said works, hence them being just like girls who claim they're "not like other girls" when there's nothing wrong with girls being feminine and in fact many of those girls may like the same things you do!

So while I'm not saying there's anything inherently WRONG with liking Madoka, I DO have a problem with people who act like it's better or more serious than other shows in the genre and simply discard them on the grounds that they're "for girls", since they obviously didn't watch them.

me when I initially watched Madoka Magica: I don’t get why this exists.

me when I learned it was written by a man: ohhh, now I get it.

I also take issue with people comparing things that are made for different demographics. Like look, I don’t care if you enjoy your angst display over here, but also maybe don’t compare it to the stuff not even made for you unless you’re willing to get into a fight over it?

It comes off wrong, like they have to trash on stuff because it wasn’t made for them, y’know?

Anonymous said:

Honestly, I am so sick of people saying that Magical Girl shows are sexist or anti-feminist, when all they do is portray girls being awesome and powerful while also being feminine at the same time, because "Well in Japan it's actually gender conformity because it's telling girls they can only be strong if they're feminine! You're just projecting your Western values onto an Eastern work!".

First of all these shows are made by women for women and often have explicit feminine messages that you literally cannot miss unless you are simply blind or trying not to see them. And they also tend to have a very strong focus on women supporting or empowering other women. Just think of Sailor Moon, which constantly gets this "criticism", and yet there's an episode where the girls explicitly protest against a villain who claims women are all shallow and useless and can't do anything without men's help. Would Naoko Takeuchi put that in the show if she weren't a feminist?

And then there's the fact that she has said that one message she wanted the female leads to convey was to value their relationships between other girls because girls are strong and don't need to waste time depending on men. There's also the fact that most Magical Girl shows tend to treat the powers as something special and awesome that's unique to women and girls, paired with the coming-of-age themes present in the show, and you get a magical equivalent of female puberty, with magic mixed in.

But no, all of that gets thrown out the window because they dare to be "feminine" while doing all of that stuff and the Japanese are forcing their girls to be girly through Magical Girl propaganda. And I just HATE when people act like anything feminine must be societally forced onto girls, rather than girls just happening to like them. In addition, stating that they are simply reinforcing gender roles by being feminine is such bullshit because the whole purpose isn't about conforming to patriarchal femininity, it's about reclaiming femininity.

Too often, femininity is associated with being weak, powerless, helpless, submissive, docile, vapid, catty, bitchy, petty, vain, stupid, the list goes on. Magical Girl saves femininity from a bad reputation. It shows femininity in a new light, as something strong and powerful and, hell, even admirable! It's about telling girls "Hey, you can be strong and powerful and smart, but you don't have to be a tomboy or act like a man to do so". Girls are always told they have to act masculine to be taken seriously because the only way to be respected is to be like a man, which is an indirect way of saying that only men deserve respect.

Magical Girl does away with all that in favor of showing the feminine as something innately powerful, and yet naysayers MISS the point and say that it's just stereotyping girls instead. To see people claim that Magical Girl forces girls to fit a feminine ideal to be respected is just disappointing. It's supposed to be a female power fantasy for young girls that shows them as the ones being powerful and empowering each other.

Take how in Sailor Moon the heroine often says something along the lines of "I won't let you take advantage of girls", which Wedding Peach went on to imitate. The purpose of the genre is for girls. To empower girls. So why on earth would they show them fitting into a "male" mould of power? Do these people think that any time women are shown acting distinct from men that they are doing something wrong?

And the hypocritical part is that nobody pisses on male-oriented anime for reinforcing a harmful narrative to boys that they have to be masculine to be valued and respected. Of course they don't! Because being "masculine" is never seen as a bad thing to be. It's assumed that masculinity is always strong and good and awesome and there's nothing wrong with boys being forced to be masculine because you're supposed to want to be masculine. You're not supposed to want to be feminine.

So of course people will shit all over Magical Girl for embracing, empowering, and reclaiming femininity, because it's not supposed to be that way! You're not supposed to be feminine and also be strong. You're supposed to deny your identity as a woman and assimilate into the boys' club because only boy things are worthwhile! And they cover it up by saying that Magical Girl forces girls to be feminine, when in actuality the WORLD forces girls to be MASCULINE. Magical Girl doesn't force girls to be feminine, It ALLOWS them to. Do you see the difference there?

Another thing I'd like to bring to the table is that the claim is racist and here's why: The claim that "Magical Girl shows are seen as feminist in the US for portraying femininity as a source of strength but not in Japan because it's telling girls they have to be feminine"...what does that mean? Japanese people can't be feminist? All Japanese people are sexists and think girls have to fit in a certain role? Do Japanese feminists HAVE to be anti-femininity? Are there literally no Japanese people who think you can be feminine AND strong(who also obviously identify as feminists?) Because it seems hella sexist to insinuate that Magical Girl shows are sexist because they're made in Japan and they don't believe you can be feminine AND strong there.

While there is some credibility to it since Japan IS, by and large, much more strict with gender roles, hasn't it ever occurred to these people that these types of shows exist to counter that belief? Not only that, but it implies that people aren't allowed to have opinions on works that aren't made in their culture, and that anyone who sees those shows as feminist are just projecting their Western beliefs onto an Eastern work. And even worse, when people say that, they don't have the same opinion of Western Magical Girl works.

Just look at LoliRock, Miraculous Ladybug, Winx, W.I.T.C.H., Star vs the Forces of Evil, and countless other European/Western Magical Girl works. Where are the people saying "They get their power from femininity and that is sexist!"? Nowhere! They're silent! Even though those are very much like Magical Girl works from Japan(although I don't think the genre originated from there), while still being original.

It's because people think that any media exported from Japan is automatically sexist and demeaning and so anything they create, no matter how empowering their intentions, gets twisted into something that's somehow toxic or unsafe for girls to watch. But when Europeans do the exact same thing nobody complains. Because Japan is not allowed to do anything empowering whatsoever; something's always wrong with it, apparently.

So that's why I have a problem with people who say those things; it's so problematic because they think they're being all open-minded and aware/respectful of other people's cultures, but all they're doing is reinforcing negative stereotypes further. It's kinda like what I said earlier(in another ask) about how people love to praise Madoka Magica for being a unique, dark, and interesting take on the genre when all it did was rehash elements of the genre that already existed, strip away the female empowerment, and gear it towards grown men, which is why people like it more. How about instead of speaking for Japanese people you let them speak for themselves?!

I would also like to add that there’s even a limit to women acting masculine because that’s still “not enough” for those kinda of men who would promote those beliefs. Women need to act more masculine to “be taken seriously” but then you have men who’ll tell them to “dress less” or whatever.

I think what it comes down to is that they want women to not be “emotionally taxing” with all those dAmN eMoTioNs of theirs (unless it’s for the sake of their angsty magical girl anime where the girls suffer for having emotions), but they also need to look pretty and be sexualized.

We can’t win.

[illfoandillfie]

ok sorry but how many people do yall think rog has ever slept with cos i’m guessing four figures no lie

okay, i don’t normally respond to messages like this because, frankly, i dont really feel like its my place to speculate on roger’s sex life. Theres a difference between writing a fiction story with a character named after and inspired by him and discussing his actual personal life which i have no real knowledge about. What he gets up to in his free time is between him and the women he does it with. but i didn’t really feel able to ignore this one. please don’t take this as me telling you off or shutting you down or anything like that. If you want to speculate about roger’s body count thats up to you, go nuts with it. and i love when you guys message me and I don’t want to discourage you from feeling like you can talk to me or just send me your random thoughts or whatever about any subject. But I feel like I need to address why I disagree with this sentiment. Also so I can ask ya’ll to please stop asking me questions like this. 

So firstly, just to get this out of the way. 1000 is a lot. even 100 is a lot. I think if rog had slept with 1000+ people he’d have a least a few illegitimate kids and probably would have been checked into rehab for sex addiction (not to mention STIs and such because lbr people in the 70s specifically probs werent the most careful especially if drugs were involved). I mean even if we were going to say Rog got lucky with a different woman after every show we wouldn’t reach 1000. According to google, Queen played around 700 shows in their entire career. If we add shows played by The Cross thats only another 67 odd shows (according to wikipedia). 

now, i think there are 3 things that contribute to this idea of roger as especially promiscuous. 1. His attitude/demeanour/general way he sells himself. 2. the generally held conceptions about rock stars and rock star behaviour. and 3. what i’m going to call fandom dumbassery (but i mean that with a lot of love) 

So lets start with the man himself. Roger Taylor is loud and opinionated and not particularly humble. He knows he’s talented and attractive though for at least some time he was a little self-conscious about how feminine he looked. He’s always up for a laugh, likes to party and has admitted to enjoying his drink and his women. He’s had kids with two different women, who’s relationships “overlapped”, and is currently married to a third. At least that’s the perception we can gleam from his interviews, behind the scenes videos, and other public appearances. 

It’s easy to see how that image leads to accusations of being a womaniser and a cheater and basically a bit of a slut lmao. But here’s the thing. I think Roger, in part, markets himself that way. The thing is, if you look at his solo songs and the relationships he currently has with his kids and their mothers, and things other people have said about him/his relationships over the years, I think it’s fair to say he also has a bit of a romantic streak maybe? idk if thats the best way of describing it...he’s self confessed to not being a fan of marriage and the like but he’s not opposed to writing and singing love songs and seems to believe in ~love~ as a concept/power. He certainly cares deeply for those closest to him. Whether or not that translates to an agreement with monogamy I can’t say for certain. It’s hard to draw conclusions here because a lot of what we know of his personal life was fed to us through magazines and news paper gossip column articles and they were never looking for the truth, they were looking for scandal and sensationalism. 

For instance the whole thing with the overlapping relationships. I think most people who have read anything about roger and dom and debbie realise that it’s not as cut and dry as “he was cheating with debbie and left dom for her” even though that was the story being sold by the press at the time. The reality (or at least the version closer to reality since obviously no one outside of them and whoever they were closest with knows all the nitty gritty details) is that rog and dom had already split when they got married. it was a marriage of convenience to make sure her and the kids would be looked after financially etc even after he’d moved out. So while it looked to the public like he married one chick and 30 odd days later was spotted with another, there really wasn’t anything untoward happening.  I’m not saying he never had casual hookups or one night stands and i’m not saying he never cheated, but I do think some of it’s been exaggerated, whether by him to encourage the rock star perception or by newspaper/magazine articles.

Now, obviously, we have stories of rog, particularly in the late 60s and into the 70s, being with multiple women. There’s that bit in the Interview with a Queen “Groupie” (which is a fantastic read and i defs recommend checking it out if you havent already) where she talks about roger being a chick magnet and says that, at the time, it was pretty common to sleep about. But, she also says she didnt notice him doing it more or less than anyone else and seemed to mostly be with Jo (his girlfriend at the time). This is the same Jo that got a mention in the Queen in 3D book (”i think we all had the feeling that these two were together for life, but it was not to be”). Conversely, we have that quote (which i cannot find rn but i’ll link it when i do) about roger sometimes having one girl upstairs while another waited in the garage for them to be finished. I think it was about Rog in the mid-late 60s in Truro but whatever. Obviously he wasn’t anywhere near celibate and it’s likely was sleeping with people outside of his relationship(s). But one has to assume that as he got older those kinds of antics stopped happening, at least as frequently.

There is one potential story that I remember reading somewhere along the way about Roger cheating on Debbie while she was pregnant. But, take that with a grain of salt because I can’t find the article again and also I think it was from like The Sun or something equally as rubbish. The press was notoriously always printing mean shit about the boys and that might have been another thing they published to create scandal. Even so, if we assume it’s legit that is still only 1 story. Not to throw him under the bus but Brian is the one with multiple confirmed affairs, who literally wrote songs about it all. So why is Roger the one with sleazy reputation? 

This is where my second and third points come in. There is a pervasive idea about what it means to be a rock star. The whole trashing hotel rooms, sleeping with groupies, passing out drunk every night thing. And I’m sure that Queen was like that to an extent. I think it’s pretty common knowledge that all of them got up to shit on the road. Between innuendo laden interviews and songs, videos and accounts of their parties, stories CT has put online, and other stories like the one of Roger bringing out lines of coke as dessert when he was having dinner with motley crue. They definitely embraced the rock and roll lifestyle. And I think with Roger’s personality being what it is, it’s easy to link him to those traditional rock star tropes and say it was all true all the time. I also think Roger has done nothing to counter those beliefs. He’s been open about how he wanted to be a rock star since the minute he picked up a guitar, he’s labelled himself as a great lay in magazines, he’s joked about girls pulling their tits out over dinner in interviews (though he said he didnt take her home), he’s written songs like One Night Stand and Dirty Mind and Airheads which explicitly mention his preference for women and alcohol. I think it’s fair to say he’s kind of encouraged that view of himself. Whether it was just a side effect of being part of such a well known band and having such a boisterous demeanour/personality, or whether it was intentional as a version of promotion i don’t know. maybe a mix of them? I mean I’m sure it didn’t hurt sales and stuff. it’s the whole guys want to be him, girls want to be with him thing, right? Maybe that’s just me being cynical though lmao. 

Anyway, the fandom brain has taken all of that and compressed it into memes and jokes about rog being the band slut. Which i’m not complaining about, lord knows i’ve made the same jokes and reblogged the same posts and used those tropes in my fics. They’re funny and lend themselves to interesting fic concepts. Plus, i think roger is the sort of person who would probably laugh about most of it. But it’s an idea that keeps feeding into itself through fandom, perpetuating what is probably a misguided view of his personal life.

Again, I am sure he’s had his fair share of fun and I’m not trying to make out that he was always perfect or whatever, but I don’t think he’s been with as many women as the popular discourse would imply and I certainly don’t think he’s in the 4 digit numbers. 

[lady-plantagenet]

What hasn’t already been said: The Spanish Princess 2

Episode 1: CamelNOT

[Lively Music Plays]

I shit you not... that’s what it said in the CCs.

Tower of London (?)

*Catherine looks at the array of crowns like a museum curator and the proceeds to strut down the halls*

Wolsey: *gives her this strange look which is a mixture between damn girl and the eagle is my spirit animal.

Then Catherine gets fake detained and taken to Henry in what must be a strange variation of the whole Robin Hood/Maid Marian roleplay they historically engaged in.

... did she just call his erhm manhood his kingship? Well that’s original, I’ll give them that. Also funny how Bessie Blount initially looks on in fright... don’t worry girl that will be you soon.

���——————————————————————

*the four ladies have a brunch friendship moment together*

I see Blount is among them... I see they are setting her up as Catherine’s friend in order to play up the whole betrayal.

Alright. Jokes aside, I realised how much I’ve played myself. I was inspired by @melusineloriginale ‘s sporks (which if all this TSP episode posts got you in the mood for PG show mockery I urge you to check out here - you’ll thank me later). In truth, Henry VIII’s early reign is a bit too late from my main area of focus for me to make intelligent jokes.

I’ll content myself with just bullet-pointing random thoughts that came into my head, and if some intelligent thought gets through, well that would be the pinnacle. In any case I’ll aim to not parrot some of the stuff that’s already been said, repetition can get annoying.

This image embodies this post, but maybe not the show. I’ve noticed those Starz productions get better by the end.

First Scenes:

- The recap just reminded me how much I will miss Margaret Beaufort in the coming episodes. I know her portrayal was innacurate but Harriet Walter just made everything better.

- They are making such a big deal out of this whole ‘we were crowned together, we rule together’ thing in this episode - it makes no sense. Catherine was an influential Queen but she was definitely no more than a consort and never saw herself as more.

- Ruairi’s new haircut is pleasing to my eyes.

- When she says ‘Abuelo’ it’s super adorable awww

The Ferdinand and Charles V scene:

- Bessie Blount looks so much like Ursula Pole lmao. Also they totally got the Pole children’s birth order wrong and UGH WHERE IS GEOFFREY POLE???

- I like Mary Tudor’s actress and her facial expressions. However, this whole polyglot image they are representing is innacurate. I am fairly certain she knew no spanish and I recall reading a contemporary account which said that she was not very learned.

- I’m pretty sure it would be considered bad luck to prematurely crown your son ‘Henry IX’ while you’re still alive.

- I actually like the whole Grape motif in this episode. It’s probably the smartest thing they’ve come up with so far for this episode. I know a lot of you will be all like ‘there’s no record of Ferdinand being abusive’ but this choice sort of makes sense when you recall Joanna’s treatment. Also I appreciate them for not being tacky and showing flashbacks of more overt abuse eg physical. The sugared grape is also fairly symbolic (the sugar is like a gilding, the grape easily crushable)

- OMG the guy from Garrow’s law is playing Thomas More!

- AND PLEASE PLEASE TELL ME IM NOT SEEING THINGS? Margaret Pole x Thomas More is happening?? Please god that is a historical crackship I am getting behind. Yes. This is what I’m most invested about.

Margaret Tudor and Scotland Scene:

- The whole ironic cutaway to Margaret being all depressed after Charles Brandon’s statement about her charming Scottish king is such a cliché movie technique.

- If this were a more artsy film I would think the whole setup resembling a stereotypical middle-class family breakfast was done on purpose for humorous effects or to create a link with the past. But here I don’t have as much trust in the producers. I think they just failed to capture the time period accurately.

- The modernisms continue: ‘Negassi please stop playing’ idk, there just something so modern about this for some reason ahaha

- Also again, I’m getting tired of all this ‘Catherine is basically queen herself’, ‘Catherine is a political genius’, ‘Catherine Catherine Catherine’ ugh. I don’t think the producers understand that Henry VIII was a very autocratic and traditional ruler. He didn’t make any show of joint-rulership (correct me if I’m wrong).

- The teeth thing is funny, smart and I liked it.

Back to Westminster:

- I like Ferdinand’s actor!

- Also Catherine’s response to ‘who are you loyal to?’ was not that smart. I feel like the producers wanted us to be impressed. What if Spain and England’s interests conflict, ey??

The Joust:

- I care too much for the whole Margaret Pole plotline. I’m so invested.

- I could watch a series of More and Pole just exchanging lines. I love the actors too and this is my hope for this series. The whole frustrated parents is SO CUTE.

- I didn’t know More tutored Reggie, I would be curious to know more.

- The way compton says groom to queen’s stool is freaking hilarious. He looks like a pervert.

- Henry Pole is a darling and must be protected at all costs.

- Oh Christ oh Christ that eyeball shot was just... good job on the special effects guys. Don’t know what the point of that choice was.

- I found the whole armour mentions after interesting, it looked so set up as a PR campaign because Stafford speaking about the armour just sounded like a statement agreed on beforehand ‘should have worn the same’ and the Catherine with ‘steel in the bones’ and Ferdinand’s impressed face (it was him playing them?)

- Am I giving this show too much credit?

- Also whats up with “God save the Queen?”

War Counsel:

- Henry VIII’s actor is quite charismatic in this scene. It’s almost as if Catherine is the hothead and Henry the wise one that speaks less but more significantly. It almost feels like they gender-swapped them.

The Bedchamber:

- Did Catherine breastfeed the baby? I thought it was Anne Boleyn. Doubtful... I’m tired of the trope of ‘you’re a good woman if you insist on breastfeeding the child yourself despite social conventions’. For a feminist show, the writers seem very attached to some 1950s perceptions of motherhood.

- I feel like the age difference between Catherine and Henry is well conveyed.

Scotland Again:

- ‘All the sheep were pregnant’ 👀 oh touché Margaret. oh my. Did she just?

- I know they are playing out this disenfranchised Margaret arc to reinforce how great Catherine and Henry are (cheap technique) and to build up to her involvement in Flodden (innacurate historically but I know what the show will do). But I will say this: the humour is pretty good in the Scottish scenes! But I know it’s unintentionally so... (I highly doubt they wanted us to laugh at Margaret hitting James or calling Alexander a pig).

Westminster and the baby chamber:

- What’s are those red splotches on the babies face??

- Oh that shot of Margaret and silent Reginald :((( it makes me sad.

- And now the Poles are at church! I just love the look of them.

- That scene of Maggie and Catherine was needed, as we didn’t get the best friends vibe much in this episode. The whole thing looked a bit pagan though, but it was nice :)

The whole Ferdinand’s betrayal segment:

- The grape motif again was fitting, him snapping the fruit right before she gets to it even despite her knowing what he’s like and what he’ll do, was a good parrallel.

- I’m tired of hearing of this ‘Camelot’. Even in the novel, Camelot was Catherine and Arthur’s dream and... can we just live it up with Arthur?

- Ursula Pole’s, Bessie Blount’s and Mary Boleyn’s actresses look way too similar.

- I fail to see why Catherine thinks she’s turning into her father... she doesn’t strike me as much of a game-player or subtle two-facer.

- I’m intrigued what will happen with Oviedo and Lina... I feel like they won’t stay in England long.

- He was made knight bannaret... nice... but why does he thank Catherine publicly for this? It was in Henry’s gift that he was made a commoner Knight.. if this transpired irl Henry would have been gravely insulter.

Catherine’s Dead Baby and thereafter:

- Guys. In all seriousness, I don’t think the TV series is trying to imply that Catherine killed the baby with her negligence. I mean, they are so bent on us liking her they wouldn’t do that. It would be a bit too ballsy anyway. Remember the red splotches I mentioned earlier? Could those have been a sign that he was already ill but no one noticed/was in denial?

- The pebbles in hands would have had more emotional payoff if it had been established earlier if you know what I mean. Basically, this episode is too fast and entire arcs begin and end within it which extinguished any build-up.

- Oh man Henry is so sweet in this, how will they build him up as the tyrant he was historically if they keep this up?

Scotland Again:

- I must admit, I don’t like all those nicknames they keep using. But somehow James calling Margaret ‘Meg’ is nice and seems fitting.

- What’s a hermana sister?

England Last Mourning Scenes:

- YOU DID NOT BUILD CAMELOT ughhh

- Why is Catherine giving the speech and not Henry?? It turns out Catherine was more emotional historically then the whole perception of ‘perfect queen of stone’ to which some people hold her. However, I doubt it would have been proper of her to give a speech in such a emotional manner.

Conclusion:

6.5/10

Some of the dialogue was stilted, the costumes are confused as to which era they’re supposed to be (aesthetically distracting) and many other characterisation issues.

I don’t have high hopes for this series in terms of cinematography or art but I sure as hell expect it will be entertaining. So far, everything is just getting set up and I find some aspects promising. As you can tell I am truly excited over how the Margaret Pole plotline. I am also interested in how Henry will be portrayed, with Catherine being so OTT and pushy this episode Im starting to Stan him more. In this show he appears sensitive and serene and kinda... adorable. Kind of like a little brother hanging onto his sister’s skirts.

But in a way that is a disservice to the real historical figure which would not tolerate such a representation. I am very irritated by this whole ‘joint-rulers’ thing which is just sooo innacurate. These STARZ shows have an obsession with showing women turn into men for the purposes of feminism - I see.

Catherine overpowers Henry too often and it sometimes feels like he’s HER consort. Of course, the feminism in this show is schizophrenic as we get the overemphasis of Catherine as a 1950s motherly ideal with the whole breastfeeding angle (“you’re better than other noble woman who would find this beneath them”, “they’re not as motherly as you”).

So the relationship dynamic between Henry and Catherine is a bit off at the moment, but oh well.

Mary Tudor is a bit distracting with her dark hair but I find the actress extremely endearing and promising. I know there will be emphasis on her storyline too and I hope they’ll not be clichéd with it.

[ordinaryschmuck]

What I thought about WandaVision

Y'know, it's kind of crazy to think that it's been over a year since we've been given any content involving the Marvel Cinematic Universe. Marvel Studios announced so many great movies, on top of new TV shows that actually impact the story, way back in the summer of 2019. But then 2020 happened. Resulting in everything, and I mean everything, we were promised getting pushed back for another year. So, when it was finally announced that the series WandaVision was, at last, ready to be released, fans were both excited as well as skeptical. Because the first thing that would reintegrate us back into this franchise would be a show about how two Avengers are stuck in a sitcom. It might be new, long-awaited content, but it also doesn't sound all that interesting. Could a story involving two characters who have yet to stand on their own be enough to carry a brand new adventure? Well, for eight whole weeks, fans were given that answer. And personally, I will admit that WandaVision might have been better than anybody could have ever expected...for the most part.

(Final spoiler warning if you haven't seen the show yet)

WHAT I LIKE

It Just Goes: This is easily the best way the series could have started. We are given no context about what is going on. We're just shown that Wanda and Vision are currently stuck in a sitcom, and that's it. By making it a mystery, fans are given this sort of interaction with the series as they find clues and come up with theories about how and why this happened. Sure, some assumptions were more far fetched than others (did people think Mephisto was confirmed just because of one misinterpreted line involving the Devil?), but it still makes the show a ton of fun to watch. Plus, even when we're given answers, it's only tiny pieces of the puzzle. We're always given a chance to figure out the bigger picture, resulting in an image that is, I'll admit, somewhat satisfying to see. Just as long as you ignore the crybabies who get upset that their favorite theories turned out to be wrong.

The Homages are on Point: I also love how straight the cast and crew play with the idea of two superheroes being stuck in a series of sitcoms. Everything they use fits in the era each sitcom takes place in. With things like camerawork, set design, special effects, acting quality, tropes, and even theme songs, everything works as a proper homage than just having two episodes in black and white and the rest in color. Each new sitcom that Wanda and Vision are rebooted in feels so genuine, to the point where they seem like they could be actual shows that could have existed. Seriously, my dad showed me stuff like The Dick Van Dyke Show when I was a kid, so trust me when I say that the very first episode nails the style that it's honoring. Not only is it charming as all forms of hell, but it also works in making these moments when characters break from the spell (get it) all the more jarring and even disturbing at times. Because when you're so keen on watching what seems like a fun and cheesy sitcom, you feel a bit unsettled when a character suddenly acts in a way that's a tad foreboding. Still, it's fun to watch and is easily the central hook for what makes this show work.

The Comedy: The homages also nail the comedy that came from each type of sitcom. The jokes fit with each period, from the cheesy and charming 50s to the cynical and dry 90s and early 2000s. It's another thing the writers play straight with, and I think it works. The only jokes made by most stories like this are just pointing out that these serious characters are stuck in a silly sitcom. Instead, the writers tell jokes that work for the period it's in, and it is all genuinely funny if you're used to those types of goofs and gags. If you didn't laugh, that's because the comedy isn't trying to reach out to you. It's reaching out to the people who actually watched these types of sitcoms. Or, in my case, the type of people who had their parents show them these types of sitcoms. And even then, I still think there are these lines and deliveries that are still funny even if you don't get the joke. For example, there's this brief moment with Vision and a toy baby that got a genuine chuckle out of me for how absurd it was. I wasn't expecting to laugh that much, but on top of the many surprises this show gave, being funny was definitely one of them.

“My husband, and his indestructible forehead”: He...hehe...hehehehahahaHAHAHAHA! AH! HA! HA! HA! 

*Slowly starts sobbing*

>Squeaks<

I see what you did there.

Paul Bettany as “Vision,” “Vision,” and Vision: Can we give Paul Bettany a round of applause for basically playing three different characters, each with their own varying levels of emotions and purposes? Because goodness gracious, this man is a champion! I've seen tons of people praise Elizabeth Olson for her performance as Wanda, and to be fair, she does do a fantastic job...aside from one blatant issue (which I'll get into later). But as great as Olson is, Bettany still deserves some credit. Throughout most of the series, he has this level of comedic-timing that I didn't even know he was capable of, by going ham or just having a dry wit. Seriously, was someone going to tell me that Paul Bettany can be funny, or was I supposed to find that out for myself? On top of being hilarious, Bettany delivers such raw emotion that none of us would have ever expected from this character. That screaming match “Vision” has with Wanda shows the very first time that any version of him has ever been angry, and Bettany does a great job at making that moment as jarring as it needed to be. And that's just from playing one version of the character! I didn't even talk about how he nails the naive yet still wise Vision from the flashback in "Previously On" or the cold and robotic "Vision" from "The Series Finale." Bettany has range, and WandaVision is a great show that proves how. One just needs to have the right amount of vision to see it (HhhhhhhhhhhHA!)

Developing Wanda: But as great as Paul Bettany, and to a lesser extent, Vision, is, Wanda Maximoff is clearly the star of the show here (And yes, I know that it's Wanda who's the character and Elizabeth Olson is the actor, but...I'll get into it!). If WandaVision has taught me anything about these Disney+ shows, it's that we are finally going to get some long-awaited development to characters that are starved from it. And Wanda definitely needed it. Don't get me wrong, Wanda was great in past movies but wasn't that compelling of a character. Here, trust me when I say that the opposite is true. 

We are given a deep dive into not only Wanda's morality but also her psyche. The writers really play around with how scary Wanda can be. As well as questioning if Wanda has the capability of being evil. Because, yeah, what she did was not right. True, our "heroine" was going through some rough s**t, but that doesn't excuse the amount of torture Wanda put the people of Westview through, no matter how unwittingly. Just look at that scene where everyone grills Wanda about what she's doing to them, not only pleading for whatever compromise they can get and even begging for her to kill them instead. That is dark! That is the darkest concept the MCU has ever offered, and the ending of Avengers: Infinity War exists!

But, while it doesn't entirely excuse everything, there is a reason why Wanda did all of this. You see, throughout WandaVision, Wanda goes through the five stages of grief. It all starts with denial as she pretends to live in a sitcom that she created where Vision is alive, and they get to even have kids together. Soon comes anger when she destroys anything and physically harms anyone that tries to bring her back to reality. Next, there's bargaining as Wanda strengthens her hex and expands it to keep outsiders out and keep Vision in. This leads to depression as the weight of all of Wanda's actions finally sinks in, and she's forced to realize the damage she's causing. Until all of it ends with acceptance, as Wanda finally, finally, gets to say goodbye to Vision. Something she never really got when Thanos ripped the mind stone out of Vision's forehead. It's both incredible to watch as it is fascinating. Wanda, through the course of her own little spin-off series, just went from a decent character to one of the most intriguing to dissect in the MCU. And we have this show to thank for it.

The Commercials: These commercials offer three things.

They're more homages to classic television, each product and filming for each one honoring how commercials looked in each era.

They offer more of an insight into Wanda's psyche as we see how each commercial shows bits of her history, regrets, and deepest desires. You see all of the above in the Lagos' paper towel commercial.

There are neat bits of foreshadowing of what's to come, like how Hydra Soak ends by saying it's for "your inner goddess" or how the 90s commercial ends by saying Magic isn't meant for the weak.

With all of that, these commercials are as fun to analyze as they are disturbing as hell.

The Dinner Scene: This was the moment it was clear that WandaVision wasn’t going to just be fun and games. The second that "Mr. Heart" starts screaming at Wanda about why she and Vision came, it becomes clear that the whole wacky scenario our heroes are in isn't as harmless as we all thought. And when "Mrs. Heart" playfully tells her husband to stop it when “Mr. Heart” starts choking, only to desperately scream at Wanda to stop it, audiences begin to piece together that the people of Westview are prisoners--no--victims. As for Wanda? She's the unknowing dictator forcing them to do what she says. And it was this scene that I knew I was going to really enjoy this show.

The Blip Scene: And it was this scene that made WandaVision skyrocket into top-tier MCU territory! As much as I love Spider-Man: Far From Home, I will admit that making a joke with the concept of something like the blip might not have been the best move. But showing the chaos of everyone coming back all at once? On top of showing the confusion that a person would have from being told that a five-second nap was five years? Yeah, that's more in line with what we want.

Returning Characters: Not only was I surprised by the fact that these pretty minor characters in the MCU made a return at all, but I was also shocked to find out they work better in this series than they did in their respective movies. First, there's Monica. Not only is she reintroduced as a brand new hero (with, admittingly, confusing superpowers), but she also works as the anti-Wanda. Both characters had someone they care about dearly die without getting a chance to say goodbye. The difference is that Monica doesn't have the abilities Wanda does and is instead forced to quickly accept that her mom is dead and won't come back. She even admits that she would bring her mom back if she could. But that just makes Monica the perfect person that Wanda needs. A person that understands where she's coming from and tries to convince Wanda to do the right thing, no matter how hard it is. Monica's methods may have been a tad bit sloppy, but she is still ten times more intriguing than that little girl who screwed around with the color scheme on Captain Marvel’s suit.

Then there's Jimmy Woo, who is both funnier here than in Ant-Man and the Wasp, and actually shows signs of being a competent FBI agent. A step up, I might add, from the hilariously incompetent character we saw in his previous appearance.

And also, Darcie is here...and still slightly annoying...but at least she still has a couple funny lines here and there! Which is more than I can say with Thor and Thor: The Dark World.

In my opinion, it's a good move having these characters with pretty small roles in vastly different stories make a return. It shows that they are not limited to their one little corner of the MCU. And that they can branch off into taller tales that suit them perfectly. It's pretty cool, and it makes me wonder what other small characters could make a triumphant return.

Billy and Tommy: These two are...fine. Billy and Tommy give me Zach and Cody vibes sometimes, the kids playing them do a decent job, and they both offer some great emotional moments. The problem is that out of the list of characters that WandaVision introduces and reintroduces, there's not much to talk about with Billy and Tommy. Honestly, the only reason why I briefly mentioned that I like them is that I don't want dozens of people crucifying me for not saying anything about them. I don't hate them, but I don't much care for them either.

Evan Peters as Quicksilver: Although I would have loved it if it was Aaron Taylor-Johnson who made a return, seeing Evan Peters in a good Marvel movie again is more than worth it. He plays a much more fun version of Quicksilver while still nailing the sibling relationship the character has with Wanda. In a way, it's a lot like how Marvel cast J.K. Simmons as J Jonah Jameson at the end of Spider-Man: Far From Home. It's admitting that no one could have played the character better than this one actor and briefly making fans happy in the process. While also not doing something crazy like having it be the exact same Quicksilver from the X-Men movies. Only f**king idiots would believe something like that...

...

...But hypothetically speaking, let's say some people were stupid to believe that. While making an outrageous claim that the writers "lead them on to doing so." In which case, I will say the same thing that one would say when friend-zoning someone: "Nobody led you on to s**t. You were just too busy focusing on what you wanted to see instead of what you needed to see."

Because there was no evidence that it was the same Quicksilver other than the fact that it was the same actor. And, hypothetically speaking, if there were dozens of crybabies who were upset about it not being the same Quicksilver, then I have so much more respect for this character being nothing more than a boner joke. Because you did this to yourselves...hypothetically speaking.

Retconning Wanda’s Powers: ...I'm ok with this. Retcons happen all the time in the comics, as well as in movies and television. It's just a matter of making the retcon believable enough where there are few holes in what you're telling people. As for Wanda apparently having magic this entire time, but the mind stone amplified her powers? I can buy that. Besides, it's an acceptable excuse to make Wanda as powerful as she is in the comics (from what I've been told), so like I said, I'm ok with this.

“I can’t feel you…”: ...That's fine. I didn't need my heart anyway.

“Vision’s” Talk with “Vision”: Forget the horrible CGIed battles. I want more of this!

Now, I put both Visions in quotation marks because while they're both the same character, they're also...not the same. Which is, funnily enough, what this scene is: A philosophical discussion between two versions of the same android about what makes them both/neither the definitive version. One may look the same, and the other may be the same body, but neither "Vision" really is the true Vision. However, the fact that these two stop their fighting so they can have this discussion in the first place helps secure that while different, they are still the same. It's a thought-provoking discussion, and it is ten times more interesting to watch than Wanda and Agatha's CGI fight in the sky. Although it is kind of odd that White-Vision just peaces out the second Hex-Vision gives him a reboot. But hey, that's for the future movies to deal with.

“Thank you for choosing me to be your mom.”: >Deep inhale<...Girl.

Wanda Saying Goodbye to Vision: >DEEPER INHALE< HOOOOOOOOOOO BOY! I did not expect this much emotional turmoil from f**king WANDAVISION!

Joking aside, this is a well-handled scene. It's incredibly emotional to see these two characters say goodbye to each other as their arcs come to a close. "Vision" peacefully leaves knowing who he is in the world, and Wanda can finally start moving on as she gets to say goodbye to her one true love. It's as bittersweet as it is beautiful.

WHAT I DISLIKE

MCU logos flashing in every episode: You know how CinemaSins has this bulls**t excuse about how the MCU opening logo wastes time to get to the good stuff? This is the only instance where that's applicable. Because the opening logo was cool to see again for the first episode, but having it play in every single one after breaks the immersion when trying to binge the series. It's for a couple of seconds, sure, but after a while, it does get pretty annoying.

Elizabeth Olson as Scarlet Witch: Now, to be clear, I have no problems with Elizabeth Olson's acting ability in this series. She juggles being funny, heartbreaking, and threatening so well that I am likely to laugh and cry with her as I am to s**t my pants while in her presence. Elizabeth Olson does a great job with this character. The problem? Well, in the comics, Wanda Maximoff is Roma, and Elizabeth Olson...isn't. This means that WandaVision, and the MCU as a whole, has a bad case of white-washing.

I could go on about the issues this brings, but I am not as educated about this subject, and all I know is just stuff that seems like common sense. For instance, I believe it is more than reasonable to hire an actor of a specific race or ethnicity for a character who is of a that same race or ethnicity. But that is as far as my knowledge and personal stance goes, and to expand on it would be too much of a risk because I have no right to criticize the representation of something I am not a part of. So instead, I'm going to point you to @earnestdesire‘s blog and Jessica Reidy’s article on the subject. They do a great job at discussing the issues with Olson’s Wanda and pointing to the issues the MCU has in representing Wanda and Pietro's representation in the comics. And they do it in a far better way than I ever could have. So check them out to truly see why, despite doing a great job, Elizabeth Olson should not be the person donning the suit.

It Was Agatha All Along: AND I STILL F**KING HATE THAT!

I know, I know, I am in the minority on this one. And I still don't understand why! To me, Agatha has all of the problems that Hans has in Frozen. Sure, there are hints if you pay more attention during a few select scenes that are slightly questionable. Like how she refers to Wanda as "the star of the show" or coincidentally shows up with a dog house for Sparky. However, much like how Frozen didn't need a villain like Hans, WandaVision didn't need a comic book villain like Agatha. The story was perfectly passable as a personal conflict involving Wanda's grief where the only obstacle was the director of S.W.O.R.D. and his agents. There is nothing Agatha adds to that.

"But she helps Wanda find out what happens!" Yeah, but Monica could have done the same thing by actually breaking through to Wanda and calmly asking what happened. From then on, they could have worked things out together by having Wanda retrace events that transpired through the information that Monica knows as well.

"But Agatha helps Wanda realize what she's doing is wrong!" So could Vision! He could have shown up, did that mind-meld thing to the townspeople, and Wanda would finally learn what she was doing was wrong through the person she trusts the most.

"But Agatha helps Wanda learn that she's the Scarlet Witch!" Ok...but did that need to happen in this series? Because when you think about it, when the central conflict is all about exploring Wanda's grief, throwing in this narrative about becoming the Scarlet Witch has little to do with anything. Meaning that if you cut it from the story, little would change other than cutting a CGI battle that everyone agrees is the worst part of the series.

The most Agatha adds to the story is a secondary conflict that could easily be cut, and the overall quality would stay the same, if not better. And that is a problem. Agatha needs to add to the central conflict in a way that no other character could have. Like, give her a reason to be involved in Wanda’s life that goes beyond feeding off her magic and leading Wanda to her destiny. Because as is, even if you argue that Agatha is a good twist villain, she's a villain that really didn't need to be here.

Director Haywood: But as much as I don't like Agatha, I think we can all agree that Director Haywood is the worst villain in the MCU. Because one issue that Haywood has is a lack of motivation. For instance, why does he try so hard to write off Wanda as this supervillain? It was never explained, and for something so bizarre and crucial to his character, I feel like it needed to be. It would be passable if he was motivated out of fear and ignorance, but Haywood goes so far as to misedit security footage to prove his point. And I don't get why.

Is he sexist?

Did Wanda not show up at his kid's birthday party?

Did he secretly want to use Vision as a sexbot and didn't want Wanda to get between them?

I don't know, and I'll never know.

Plus, on top of having no motivation, Haywood is just forgettable. Agatha may piss me off to no end, but at least I'll remember her. I honestly forgot Haywood's name half the time, and I'm willing to bet that you did too. Case in point, his name isn't even Haywood. It's Hayward. And in the off chance that you didn't even know about that misspelling just proves my point about how forgettable Hayward is. While it's one thing to be hated, it's another to be forgotten. Because that just means that you left so little impact that you aren't even worth getting upset about.

------

And that is what I thought about WandaVision. If I had to base this off my usual score, I'd have to give the show the same 7/10 that everyone else gave it. Because there's a lot that I love, but the stuff that I hate is so problematic that it takes the WandaVision down on a couple of notches. It's still a fantastic series with a solid story, a great message, incredible acting, and phenomenal character development. It's just that not everyone is going to be willing to tune in as much as you might think.

[diyeoracha]

IwaOi Master Fic Rec List (50+ Fics)

Hello! In celebration accumulating over 190+ bookmarks on my AO3 account featuring IwaOi and Iwaizumi coming back into the manga (and for his (almost) birthday), I decided to create a masterlist of all of my favorite fanfictions in order to keep myself organized as well as contributing to more traffic on those works! I decided to split the works up by my own self-imposed genres, such as angst, coming-of-age (or the childhood-friends-to-lovers trope that we all love which depicts how their relationship changes as they grow up and will mostly be canon-compliant), and alternate universe. With the revival of Iwaizumi in the manga, alternate universes will be broken down into adulting AU where he and Oikawa’s diverge differs from in canon and actual, legit AU where there’s basically no volleyball.

I’ll include the title, link, word count, fic summary, and my own commentary (mostly for my own personal entertainment). While the AO3 fandom has been going strong since 2014, I personally have only been reading IwaOi fics for about 3 months, so I will most likely be recommending some cult-favorites, especially since I’ve been reading my fics by sorting through the tag with the most kudos.

My absolute favorites (or the ones where I personally push onto my IRL haikyuu friends) will be denoted with ♡ in increments of 1-3 with 3 ♡ being an absolute must-read. Fics marked with a * indicate that Iwaizumi or Oikawa or both are professional athletes because that’s honestly my Favorite Trope. This is incomplete as I got distracted while re-reading a lot of these and have only gone through half of my bookmarks, but feel free to check my own page here for the rest of them! This took me about 9 days to compile (aka this was in my drafts for about 9 days) but I do hope you guys enjoy reading these and leave comments and kudos!

Adulting AU 

*♡♡Thirty Years and Change (the Games of the XXXIII Olympiad)

Word count: 19k

Summary: It’s July 10th, 2024, and Oikawa Tooru is an Olympian. His smiling face airs on an NHK promo every 45 seconds. He’s captain of the national men’s volleyball team, reigning star of the professional leagues, and he hasn't spoken to Iwaizumi Hajime in two years.

Thoughts: THIS IS IT. THIS FIC IS GOD TIER. They’ve been separated but now are falling back into old habits and there’s a confession on the line? Akaashi is in here and he’s pretty funny. I reread this all the time.

*♡♡♡the courtship ritual of the hercules beetle

Word count: 66k

Summary: Tooru is pretty sure he could manage the mating habits of a mosquito. It’s the mating habits of people he can’t seem to get right.

Thoughts: Absolutely the best IwaOi fic I’ve ever read. I’ve reread this about 4x and I always pay attention to a new sentence or detail that leaves me breathless. The characterization is pretty spot on, and I have to admit that this fic made me appreciate IwaOi a little more. I’ve cried countless times too. A cult-favorite but it doesn’t have nearly as many hits as it deserves.

♡days fall away

Word count: 17k

Summary: Except now he’s back home, so close to his old haunts and to Oikawa himself, and it's—weird.

Thoughts: They’ve separated for a bit but now they’re back in the same city and learning to be around each other again. Cue teasing from the biological and Seijoh family

it's been so long (nobody knows me the way you do)

Word count: 8k

Summary: Tooru hums, only half-listening. Somewhere along the way, Hajime’s palm has settled itself over the curve of Tooru’s cheek, thumb tracing over the line of his jaw.

Thoughts: They’re living together post-college feat. snapshots from their lives before getting together and their Seijoh team! It’s really soft but it manages a humorous tone as well.

Time

Word count: 5k

Summary: When they're twenty-three, their story only begins.

Thoughts: A piecewise fic told from Oikawa’s point of view. The tone is almost chatty but it really fits the pacing of the work as you get snippets and sentences of their relationship throughout the years

♡Almost a Stranger

Word count: 16k

Summary: Iwa-chan's leaving Japan. Tooru's not sure he can forgive him, but he's not going to admit his long-held feelings, either. A trip to Miyajima complicates everything.

Thoughts: They go on vacation right before Iwaizumi leaves Oikawa for a year. Oikawa ponders their relationship.

where fireflies never die

Word count: 4k

Summary: >>Oikawa: Hey Iwa-chan >>Oikawa: Did I ruin it?

Thoughts: Oikawa is a mangaka and basically writes his best selling series based off of him and Iwaizumi. This was pretty angsty ngl with a lot of introspection and second-guessing.

In the Business of Love

Word count: 22k

Summary: Meet Oikawa Tooru: He's a best-selling shoujo manga artist, a hardcore romantic and you won't believe where he's getting his lovey dovey fodder from...Enter Iwaizumi Hajime: He's Oikawa's best friend, a realist who also happens to be a wedding magazine writer despite not believing in romance...

Thoughts: Mangaka Oikawa but this is basically a rom-com lmao

Alternate Universe

Even Heroes (have the right to dream) 

Word count: 20k 

Summary: Oikawa Tooru, ace reporter of the superhero beat of Asahi Shimbun, hates superheroes. Or maybe he just hasn’t met the knight one yet. 

Thoughts: Superhero-hiding-his-identity-Iwaizumi and begrudging Oikawa? Sign me up. This fic spent a little more time on worldbuilding than eventual romance, but it is still absolutely unique and entertaining

The secret omega

Word count: 17k

Summary: Iwaizumi’s annoying as fuck best friend. Who absolutely, definitely, no matter what, cannot find out that Iwaizumi is an omega.

Thoughts: A/B/O dynamics where Iwa is the omega and Oikawa is the alpha. 90% plot building which is pretty nice.

Conquering the Great King

Word count: 105k

Summary: Oikawa's lips twitched into a smirk and he brought them hovering just over Iwaizumi's, "One time thing, Two time thing, what's it matter as long as it's not a Relationship thing?"

Thoughts: Malicious and flirtatious Oikawa meet immovable object Iwaizumi. They’re businessmen trying to navigate friends-with-benefits and love all at the same time. A+ sex scenes tbh. 

♡Infinite Risks

Word count: 8k

Summary: “It’s my fate,” Oikawa responds slowly. He’s crying.“It’s too lonely,” Iwaizumi’s heart sounded broken. “And I’m not there with you. Not really.”

Thoughts: Edge of Tomorrow AU!!!!! Please watch Edge of Tomorrow first because it’s truly a brilliant movie that I wholly enjoyed and this fic reflects that. This also made me really sad so Beware

*♡Something Like Us

Word count: 28k

Summary: Friends since childhood, Oikawa and Iwaizumi now live together, both playing for the National Team. It's no secret that athletes who are bonded perform better. So if the two of them happen to bond...It'd be for the good of the team, right?

Thoughts: ABO dynamics (and somewhat canon-compliant) as they’re roommates, on the national team, and try to navigate being “fake” mated while harboring feelings

And All the Prince’s Men

Word count: 65k

Summary: “Father only loves that which he owns, and I am the one thing that can never truly be his.”

Thoughts: Royal bastard son Oikawa and his servant Iwaizumi. An enthralling read and universe. The romance takes a secondary seat here as it focuses more on plot and world-building. 

♡long nights, no peace

Word count: 18k

Summary: It's the steady knowledge that Iwaizumi Hajime will always be someone that he can rely on, that no matter what the world throws at the two of them, they share in a piece of each other's soul.

Thoughts: Pacific Rim! AU. Otherwise known as my favorite types of AUs because they’re basically soulmates (platonic or not,, but they’re not platonic here)

♡(sing with me) A Song of Conquest and Fate

Word count: 26k

Summary: When Seijou receives a missive from Aobajousai to discuss a potential peace, its emperor Oikawa Tooru could not have foreseen the series of events that would follow.

Thoughts: Warring states/historical fantasy AU. The world building is amazing and this author has great control over her language use

Cotton Breathing

Word count: 13k

Summary: 

Thoughts: Long-distance and summer only but childhood friends Iwaoi!!! A dreamy summer piece and reading it almost makes me feel like I’m in a Studio Ghibli movie because of the mood it puts me in

Similar Creatures

Word count: 53k

Summary: "What's your name?" "Whatever you want it to be."(Or, Oikawa gets directions from an attractive stranger on a street corner.)

Thoughts: Iwaizumi is an escort and Oikawa needs a fancy date

Space

Word count: 44k

Summary: Tries not to think of his rooftop garden, or the apartment he used to inhabit, or Hajime’s broken expression on the night they whispered their goodbyes before Tooru’s launch, attempting to push it all to the back of his mind behind visions of this alien world terraformed

Thoughts: Oikawa’s in outerspace. They’re separated. This left me feeling pretty empty ngl.

♡here comes your man 

Word count: 8k

Summary: Iwa-chan, it reads, Have a good day today! Good luck! <3 <3 <3Suga chokes. It’s hard to imagine anyone calling the scowling and fierce Doctor Iwaizumi “Iwa-chan.” But marriage probably comes with all sorts of liberties.

Thoughts: Doctor AU where Iwaizumi and Oikawa’s relationship is pondered by Suga

In the Telling

Word count: 6k

Summary: Muggleborn Iwaizumi could not be less impressed with pureblood Oikawa Tooru.

Thoughts: Harry Potter AU where they’re in the same year and aren’t really friends but are also friends

♡♡The Loyalty of A Traitor

Word count: 76k

Summary: Iwaizumi Hajime was an undercover officer with a single objective: Infiltrate the Seijoh Syndicate of the Yakuza and tear them down from the inside out. His primary target was the boss, Oikawa Tooru. The job itself was simple enough, until Iwaizumi got in too deep and absconded not only from the mission, but from the city itself.

Thoughts: Oh fuck this was Good. Yakuza boss Oikawa???? Disgraced Iwaizumi??? Do they fall in love (again)?

and suddenly, we were traitors

Word count: 17k

Summary: "sorry, it's just... you’ve been amazingly kind to me these past few days. ...but i'm still not sure who you are.”

Thoughts: The amnesia fic this fandom needed

Trial by Fire

Word count: 78k

Summary: (lawyer!AU - in which Iwaizumi loves his objections, Oikawa is beautiful, and they have more chemistry than two opposing attorneys probably should.)

Thoughts: Hot

dear diary, i met a boy

Word count: 15k

Summary: Iwaizumi's first impression of his upstairs neighbor involves getting woken up at two in the morning to the sound of Oikawa singing along to trashy pop music. He'd thought it would get better, but it all just goes downhill from there.

Thoughts: Model Oikawa and salaryman Iwaizumi meet and try to make it work

on shipwreck shore

Word count: 8k

Summary: “I’m going to murder you in cold blood and feed you to the basilisks,” Iwaizumi says conversationally.“You can’t do that, I’m your boss,” Oikawa sings, positively sparkling. “Also we’re partners, which means,” he points at Iwaizumi and leans in, “you’re stuck with me.”

Thoughts: Detectives but they’re actually funny

♡Lockdown

Word count: 72k

Summary: Within the first few months of his stay, Oikawa gets caught up in a war between cellblocks, becomes a prime target, and must decide just how far he's willing to go to protect Iwaizumi Hajime.

Thoughts: Orange is the New Black AU!!! Im a sl*t for tatted Iwaizumi

an allegory of all the things we could’ve been

Word count: 16k

Summary: “I don’t know anything about some red string,” Iwaizumi murmurs into the cracks of Oikawa’s skin, “or even about lifetimes or fate. But no matter where you are, I’ll find you. Gods or otherwise.”

Thoughts: Reincarnation AU throughout the timelines. A good soft read that leaves you sort of empty

Angst

Timeless (We Have 30 Days)

Word count: 12k

Summary: Or AU where you're branded 50 days before you die. But Oikawa doesn't tell anyone so now there's only 30 days left.

Thoughts: Ahhhhhhhhh tears

the weight of water

Word count: 6k

Summary: “Again,” he says, the smallest tremor in his voice, and Oikawa blinks at him a moment before smiling, soft and sweet. “Iwa-chan,” he replies, and Iwaizumi closes his eyes. “Again.” “Iwa-chan.”

Thoughts: Death fic 

open when

Word count: 1k

Summary: Iwaizumi knew it was coming, but it still hurt. It still hurt when he opens one letter and drowns it in the tears he cannot keep at bay.

Thoughts: It takes only 1.6k words to make me cry

Canon Compliant/Coming-Of-Age

♡♡i sing the body electric

Word count: 8k

Summary: It was never part of the plan, falling in love with his best friend, but then again, most things in Iwaizumi’s life that involve Oikawa rarely unfold the way he thinks they will.

Thoughts: A beautifully introspective piece told from Iwaizumi’s point of view. It’s wholly intimate and it toes along the lines of pining and soft angst. It’s told in snippets from their lives growing up together. 

♡we can do better than that

Word count: 16k

Summary: Oikawa and Iwaizumi go on a road trip during the summer after their high school graduation. It doesn't go as expected, but maybe that's not such a bad thing after all.

Thoughts: There’s a lot of character analysis and it takes a step away from the casual banter they’re always portrayed to have and focuses on the intricacies of their relationship. The tone is almost a little more melancholy. (also they have to share a bed! trope)

♡when it starts to rain, they go inside

Word count: 33k

Summary: “Where?” starts Iwaizumi.“My parent’s old lakehouse, silly, didn’t you hear me the first time?”OR: Oikawa takes Iwaizumi to his lakehouse for two weeks, post-graduation.

Thoughts: Oh This Is It IwaOi stans. This fic really solidified my own headcanon for Oikawa (spoiler alert, OP isn’t too fond of Oikawa but she fleshes out his character and his idiosyncrasies so well that you can’t help but be drawn into all of his imperfection) and this fic respects Iwaizumi as well. It has absolutely great characterization and the fic ends on an ambiguous note. 

to be first, to be best

Word count: 26k

Summary: Hajime is apparently something of a masochist, and as he stares down at the tie-dyed AREA51 T-shirt in his hands, he thinks “I’m totally in love with this asshole, aren't I?”

Thoughts: College roommates trying to navigate having feelings for each other while also dating others and not realizing that they’re jealous? A cult favorite.

♡things that change, things that stay the same

Word count: 8k

Summary: Oikawa realizes he's in love with his best friend; it sucks for a while. (But only a while.)

Thoughts: Ahh a slow burn featuring daily moments between Oikawa and Iwaizumi, and Oikawa starts to notice the little things. This was a cute read because Oikawa just comes off as wonderfully earnest. My first Iwaoi fic! And a great one because it really set the standard to how I interpreted their relationship.

it’s better than words

Word count: 3k

Summary: [ or : oikawa makes iwaizumi participate in three bonding activities for new friends, and iwaizumi just wants to know why oikawa's being so weird about this]

Thoughts: Soft pining, fluff, banter, and whispered confessions. This fic really nailed the banter of high school students really well.

♡shiver

Word count: 16k

Summary: Oikawa was always the brave one. Hajime just followed two paces behind.

Thoughts: Oikawa falls first and but Iwaizumi realizes his feelings later on! So soft, so slow burn, so much pining. We get to see their relationship through Iwaizumi’s eyes and actually read him analyze his own feelings.

♡we shine like diamonds

Word count: 26k

Summary: "You know Abe-kun from class?" they snicker, hands cupped around their mouths like they're passing along a filthy secret. "I hear his older brother is... gay."

Thoughts: Character analysis, homophobia, and coming of age makes a good and angsty iwaoi fic

terrarium

Word count: 11k

Summary: At this point, is he really happy with just staying best friends forever? Will he be writing journals and collecting rocks forever (he will, he knows, but that is aside from the point)?

Thoughts: Oikawa has a terrarium and names all of the rocks he puts in (that Iwaizumi gave him) “Iwa-chan #_”

Chasing Paper Suns

Word count: 10k

Summary: Post-high school, Oikawa makes it to the national volleyball team but Iwaizumi doesn't. The next three years become an exercise in growing up without growing apart.

Thoughts: This was pretty sad tbh. Of what it means to grow up together and then suddenly having to adjust to living without each other’s presence.

with every second that you could give

Word count: 9k

Summary: The journey of Iwaizumi and Oikawa going for gold.

Thoughts: Of growing up together, making decisions for each other, and wanting to be together

Only the jellyfish know

Word count: 6k

Summary: Their third and final year at Aoba Jousai has come to an end, and the guys decide to go to the beach the day after graduation.That day, the ocean water is salty, the watermelon is sweet, and the people are sweeter.

Thoughts: Established relationship

Smut

strange.

Word count: 1k

Summary: "god, i fucking hate you."oikawa smiles, cause he knows it's not true. he knows iwaizumi loves him, knows iwaizumi adores him. but he plays along."i hate you too,"

Thoughts: It’s hot

Say My Name 

Word count: 2k

Summary: “Hey, have you ever tried saying my first name?” Iwaizumi blurts, and the thought jumps out of his subconscious only after he's posed the question.

Thoughts:

No Touching Allowed

Word count: 10k

Summary: “You’ve got one rule,” Iwaizumi winks at him.

Thoughts: ExoticDancer!Iwaizumi and stressed out/repressed businessman Oikawa also an AU.

Honorable Mentions

things wikipedia doesn’t tell you

pillow

Phone Home

Share my life, it’s yours to keep

in progress to you

no sleep in the city

The PDA jar

Kissmarked

[soyouareandrewdobson]

Doing something for fun: RPGs about broken anuses.

As promised, after the abomination that was the Sam arc, I am now going to write random posts about more positive/fun things. However, I also decided to add a little twist to them and correlate them in some way thematically to Dobson. E.g. by reviewing a game/show that does all the things Dobson hates/obsesses about/or fails at right.

 And my first entry in that regard is related to a videogame that came out a couple of years ago, based on a tv show Dobson claims to hate. South Park: The fractured but whole.

 Seeing how the game is 3+ years old at this time and there have been tons of reviews & walkthroughs showing how good and fun the game is, I do not really want to cover the plot and all the things that make it great in detail. Lets just say you can really feel that Parker and Stone were heavily involved in the writing of the game, as it is filled to the brim with references to the show and the typical satirical humor of it, that in parts manages to cross the line even further for me than the show. Right from the start you get a very dark but smart social joke and commentary out of the way, when as you set up your characters looks and the difficulty of the game, it is the tone of your skin that decides how hard the game gets. Meaning if you play as a black person, you are having a very hard time. It is not too preachy, just an acknowledgment that yes, in American society, blacks can have it harder compared to white people. Especially when living in a town like South Park, where social standing is pretty low and the police force is inherently corrupt and racist, doing something so outrageously to black people, I do not want to spoil it. Let’s just say it ends in a better Lovecraft joke than any of the shit SJWs did in light of censoring Call of Cthulhu board rpgs.

The overall plot is simple: While last time the kids played fantasy and things escalated quickly as they do in South Park, this time they play superheroes, with two fractions having formed: Coon and Friends vs the Freedom Pals and things escalating just as quickly. What starts off as the hunt for a missing cat to earn a 100$ reward Cartman wants to use to start a multi billion dollar movie franchise just like Marvel, turns soon into the player and his friends having to fight a real crime conspiracy thought up by one of South Park’s most nefarious characters, which also involves genetic mutations, time travel and eldritch horrors. Thankfully you, the “New Kid” from the last game, even after losing all your previous powers thanks to no one playing fantasy anymore, gain new superhero powers, make friends with the South Park kids again and even learn new fart techniques by none other than Morgan Freeman, that help you out along the way. All while also slowly revealing more about your backstory hinted on in the previous game and the tragedy of your dad having had intercourse with your mother.

 Being a South Park and RPG fan for years, I wanted to play this game for quite some time, but only managed to do so recently. And even if I spoiled myself massively over time with cutscenes and major battles online, this game is still fun (thanks in part also to the fact I watched the cutscenes years ago and by now forgot a lot of them).  The turn based battle system is way more interesting than last time by also depending on you positioning the characters on the field in a strategy based RPG style, there are lots of classes to choose and powers to combine (I myself going for elementalist, assassin, plantmancer and blaster currently) and you have a ton of allies in the game. The original cast of the four main boys, Jimmy and Butters has expanded significantly in this game with characters such as SUPER CRAIG, Clyde as the blood sucking MOSQUITO, Token as TUPPERWARE and Wendy as the social media huntress CALL GIRL (yes, that is her name) and they all are fun to interact and play with, with each one having their own unique sets of moves and finishers once again. Even outside of the battle, thanks to the writing, there are always great lines from them to get when interacting or taking missions from them. I especially came to love Tweek and Craig, who are not just decent fighters (Tweek in particular is a great elementalist) , but in this game are also now a couple ever since that yaoi episode from South Park. Helping them reconcile after a bad break up over the course of the game just feels surprisingly nice, mostly because unlike other LGBT celebrating media out there (Korra and She Ra  e.g.) none of the characters crosses some sort of moral line where you question why they deserve to be together (Hello, Catra), it is not heavily handed garbage fishing for brownie points and it is obvious through dialogue and actions they care for each other, even if they are at first going through a bad break up as only South Park could ridiculously portray it.

 Overall, the game is also surprisingly “inclusive” and socially relevant without being preachy about it, if you ask me. From the aforementioned skin color thing, to LGBT representation via Tweek and Craig, the police being involved in a plot that especially nowadays is sadly more relevant than ever (mind you, I do not believe that in real life all cops are bad, but in my opinion bad eggs on both sides certainly led to the current situation in the US and that is all I say) to the fact you can over the course of the game decide not just if you are playing as a boy or a girl, but even something in-between, a cis-/transgendered person and decide your race, religion as well as to whom you are sexually attracted to. Granted, I barely see how it has any bearing on the game’s plot, but I appreciate the following things: a) the inclusion of the possibility to decide on those factors itself, making creating your character even more fun (a basic right others demand for certain games nowadays in all the wrong ways) and b) that the game does not make the biggest of deals about it. See, I am under the impression that often times the most progressive and inclusive thing is to just let the story and personality of a character speak for itself, instead of the fact that it also identifies by a specific gender, sexuality, race or other allignment. In fact focusing on those things on a character only is something I consider ”positive stereotyping”, which for me is just racism in the opposite direction. And if you no think I am going off track here and need to be beaten up by someone who genuinely has some grip on pc culture, don’t worry. This game features PC Principal actually doing an ok job teaching you about microaggressions in his typical PC Principal manner, which in itself becomes a relevant move in future battles and is hilarious to watch. Speaking of the new kid, putting things like your chance to gender identify yourself with it in more detail (which you can also adjust again later on in game if you feel like it) aside, for a silent protagonist he/she/it can have a nice level of debt to it, if you look too much into it.

 Not only does it have a funny backstory explaining its fart and social media powers, there are recurring scenes of the kid’s parents being on each others throat and the kid just silently eating dinner for the night that genuinely feel sad and create sympathy in our little FartLord to the point you just want the kid to go out there, have an adventure and hopefully find a way to change its parents for good, cause it is obvious they love the kiddo, but damn do they need to cut off the substance abuse.

 Storywise you get something out of this game that is way more entertaining and hilarious than the last two seasons of the show combined (FUCK the season of 2019) and game content wise you are also rewarded with a lot of shit, just for exploring the town. Be it you finding hidden yaoi fanart that earns you money, your allies helping you solve puzzles that reward you with exp and new costumes to further customize your outfit, making new friends on Coonstagram by taking selfies with all the major and minor characters of the town, helping Big Gay Al finding his missing cats, stumbling upon Memberberries, forging new artifacts to increase your strength, finding summons… all stuff that helps you not just gain exp and become stronger, but also makes you enjoy going through South Park outside of the main story content. In fact I spend a majority of my first twelve hours in this game only wrapping up the prologue missions and first two chapter of the game, while otherwise talking with as many people in town as possible, exploring the stores and houses, doing side missions etc. just for the fun of interacting with the characters and the world they are part of.

 Now, how does all of that relate to Dobson?

Well lets see…

 Game based on something he hates that has however rightfully more success than he ever deserves, with lots of political commentary and satire for years in its humor? Check.

 Game itself having more of that commentary done right then Dobson in his own comics and story attempts? Check

 LGBT representation via Tweek and Craig as well as Big Gay Al that does not feel too stereotypical despite Al himself being extremely stereotypical in design? Check

 Some pretty decent/hilarious female characters in the game once you know them? (again, Call Girl and Classi, who fucks the L out of the A-S-S) Check.

 Being a style of game he hates for no apparent reason, but executed well (RPGs)? Check

 Thematically focused on superheroes, a trend he is obsessed about, but here both appreciating while also poking good fun at common tropes of it and the marketing of the MCU, in doing so just highlighting how much of a mindless consumer Dobson is? Check

 Being a game where you can also play as any gender and race and its not turned into a “groundbreaking” industry changing feature pandering to minorities that in the eyes of corporations are just a market to exploit, not people? Check

 Heck, if Dobson was not a biased idiot, the game would be perfect for him. It even panders to his toilet fetish in videogames.

 Kid you not: a mini game in the game itself features the possibility to go to every toilet in town and shit in it. The process of defecation itself being a rhythm game and you earning exp from it once you took enough dumps. And considering Dobson once spend hours in Skyrim looking for outhouses, that sounds right up Dobson’s back alley.

 Bottom line, this game is fun. If you like South Park, superheroes and RPGs, this game is perfect for you. And seeing how it has been a few years since it came out, I think it should be possible to get a cheap copy of it somewhere. Go on, play it. But always remember: Never fart on another dude’s balls. It is just not the polite thing to do.

[less--beans]

lihn asks: 2, 9, 14, 19, 20, 22, 27, 28, 39, 40, 47

2. Fav scenes?

can i just say the whole musical? i really want to just say the whole musical. i’ll not mention any scenes with songs, bc that’s a whole other thing, but i’ll pick a few (i said a few but it’s a lot more than that, i’m very sorry) top scenes. i’m pretty sure most ppl answer this with like 3 scenes but i’ve never been very good at picking so here, have 10. i’m going to make a list bc if i just put it all in a paragraph it would be way too long. 

-i love sheila and susannah’s first actual conversation. it’s funny how nervous and awkward susannah is, and how many questions she asks and weird things she says. i love how sheila just rolls with it, answering her questions and ignoring the weirdness. francis’ little interludes are funny and it makes my heart melt when sheila goes ‘but in the good way,’ especially after seeing that susannah believes francis and everyone else when they tell her she’s weird in the bad way, and i can’t help but die when i remember that sheila is probably the first person who saw how weird susannah was and didn’t insult her or act like it was a bad thing but instead just rolled with it. 

-it’s a short scene but i love when they’re teaching susannah how to smoke and she visualizes francis being torn apart. it’s the funniest thing. so short and yet so good. 

-another short yet awesome scene is right before the other one, when sheila spends a solid 20-30 seconds just staring at susannah and listening to her write songs. very gay. also, in the same scene, sheila listing what she likes and then adding that susannah’s interests weren’t too bad either. her acting like she usually does and just kind of putting down the other person’s interests a little before letting her walls drop and acknowledging susannah as a person was amazing. again with the walls dropped thing is her respecting susannah’s boundaries and not demanding to know who the letter was from. we love character growth. 

-yet another short scene is right before oh well when sheila’s kind of teasing her about the morse code thing and being like ‘you’re obsessed.’ it was hilarious. and then it kind of clicked in their heads with the nonsense syllables and the secret code and it was like they were finally on the same wave length. it was very very sweet. 

- i loved the scene where sheila got taken to solitary. phenomenal acting. my heart broke. i’ve watched it so many times and i love looking at various reactions of the girls (judith being victorious, sheila being hurt and scared and angry, dorothy in shock and still trying to comfort others, ya-ya collasping, kitty being angry and disappointed, rat just watching concerned and scared from the sidelines) as it all goes down. it’s painful and it was such a different ending to act 1 than i thought would happen just two minutes prior, and it’s a majorly emotional scene. 

-in the beginning of act 2, she’s like ‘no, this is my fault!’ and all the girls just agree with her, and then judith tells the history of harriet. i did not see her backstory coming at all. that part made me physically sick and very horrified. i didn’t necessarily like that scene, but i respect it bc of the acting, and the effect it had on me is proof that it was good. also, when kitty comes from judith and reveals that sheila took out her eye? that was the second huge revelation in the same scene and i had to pause it to process. plus, that was a sick burn. go kitty.

-the scene with kitty and susannah before masochist!! powerful, emotional, had me in tears. I adore kitty so much. some real stuff was said there, and i, as someone who is part of the lgbtq+ community, was really affected by that scene. also masochist, but again, we’re not going into songs right now. that’s a whole other thing. 

-i died when the music was building up and susannah was on the steps and she was giving her whole rousing speech and she finally admitted that she loved sheila. the music stopped, susannah stopped, my heart stopped, and the girls gave a wonderfully funny fake gasp. the girls’ reactions in that scene were impeccable and so hilarious to me, and there’s of course the fact that susannah, after stumbling over her words and feelings the entire show, finally admitted out loud that she loved sheila. not only that, but she did it in front of everyone. very big character growth, plus the growth of my heart as it swelled and burst in my chest. i loved it. 

-the transition of judith being like ‘there’s no way she just thinks the plumbing sucks’ to sheila loudly complaining about her hatred of the sucky plumbing was perfect. also, i can’t watch sheila’s slow realization of what’s happening without laughing. she’s such an idiot and i love her. her slamming her head into the pillow and slowly raising it up again as it sinks in? comedic genius. just the parallels of susannah being like ‘she’ll figure it out soon’ at the exact same moment sheila figures it out is amazing. judith going ‘i will happily eat my own sh-’ and then being cut off by sheila knocking back was hilarious, and kitty’s ‘do you want fries with that judith?’ was so iconic. 

-them being like ‘how are we going to do this??’ in the middle of the song and everything going dark and quiet for a few seconds other than that sign of ‘four minutes and 38 seconds later’ before going ‘that’s a great plan’ was so freaking funny. we’re going to skip the moment where sheila and susannah reunite for now bc i’m probably going to make another post about it and this post is already so long. also, i love how they outlined the plan as they put it into action. it was poetic cinema. perfect execution of one of my fav tropes and i really enjoyed it. 

9. Fav lighting moments?

I love the beginning transition where the lights flash and show the silhouettes of the girls, it’s so powerful. I also love the emphasis the lighting gives when it changes in the pre-reprise of teenage delinquent and also in susannah’s song reprise (basically whenever everything stops and susannah has a gay moment). the lights shining through the smoke to give the illusion of fire? amazing. that was exactly what the scene needed to take it from incredible to literal perfection. on that note, i liked the ghostly feel the lights gave as they shone through the windows once the girls were outside. lastly, i loved the lights in the end of teenage delinquent. that was a very emotional moment and the lights just added to it. 

14. A major(s) character you love?

I love sheila a lot. she’s so tough and yet so sweet. i first met her and i was kind of worried about if she was going to be one of the stereotypical mean tough girls, but she managed to be strong and kind, and it’s amazing. i love how she’s a little aloof and yet totally willing to take down anyone who hurts the people she cares about. she fights asp, buzz, and even judith, all bc they hurt her family. plus, that girl’s been through a lot. i’ve made a few other posts just based on what i got from the three failed escape attempts but i really feel sad for her and all that she’s been through. 

19. Fav (pre)reprise?

So we obviously have the oh well reprise when susannah is delivering the esp to sheila and that’s such an amazing one that always gets me. i’ve cried a lot at that scene. sheila smiling and trying to hide it while half-heartedly trying to get susannah to stop playing by warning her that she would get in trouble... ugh. my heart. another one that i really like, however, is when sheila and susannah first met. the pre-reprise of teenage delinquent gets me almost as much as the oh well reprise does. it’s so short, only a few lines, but we see susannah immediately fall for her. it’s so sweet and it sets everything up so perfectly, and i especially love the percussion. in the last line the drums kick in and crescendo and it’s just a masterpiece. 

20. Headcanon(s) for what happens before the show?

i’m very sorry to announce that i forgot who the creator of this (if anyone knows please message me!) but some created this amazing timeline. it’s phenomenal. i’ve pretty much accepted everything on that list as canon. 

22. Headcanon(s) for what happens between Teenage Delinquent and Finale?

judith definitely became a chill therapist. 100%. she keeps in touch with ya-ya and they try to arrange meetings every now and then. sometimes they see certain plays together. ya-ya went to hollywood with dorothy. she made it big in special effects, and dorothy prefers to act in smaller gigs in underground places. ya-ya helps out with dorothy’s plays sometimes. they share an apartment together. sometimes dorothy sees rat in the audience of her shows. she doesn’t question how rat knew where she’d be performing and she doesn’t question the money and cigarettes that are pushed into her hands after. she also doesn’t question it if rat ever shows up in need to stay for a few days. it happens every few months, and dorothy just makes sure there’s good food in the house and slips some money into rat’s things when she’s sleeping. kitty keeps in touch with susannah, and she attends all of susannah’s performances she can. susannah goes on tour with her band, and she could’ve sworn in their tour in hollywood she saw three familiar faces in the crowd. she’ll never know for sure though. sheila stays in mexico for a while before deciding to go back to the states. she doesn’t know what happened to francis. at the border she told him he was lucky she didn’t kill him and left on his bike, never to see him again. she traveled around the us with that bike, eventually deciding to visit hollywood. she saw a familiar name in an underground club and immediately went to the next showing available, watching with barely held back tears as dorothy starred in a play. she saw rat in the audience and ya-ya’s name credited in special effects, and she had to leave at intermission to keep herself together. she wasn’t sure how to approach them or what she would do or say, so she took off that night to keep the temptation away. she went all the way across the country to nyc, figuring it was about time she visited some old friends from mexico. she walked into a record shop to ask for directions and caught a thief stealing from the store a few minutes later. she walked in to return the record.

27. Teenage Delinquent or Revolution Song?

how am i supposed to choose?? from the moment i heard teenage delinquent pre-reprise i loved both versions. it’s such a pretty tune, and it’s so meaningful, and the emotion in it is so powerful. it makes me cry every time, and the end... wow. they’re gay and in love and i get very emotional about it. i absolutely love teenage delinquent. revolution song, however, was one of the first ones i ever heard and probably the one that made me watch the show. it’s so energetic and so great, and i cannot listen to it without wanting to start my own rebellion and take down some terrible patriarchal system. it’s constantly in my head and it’s so catchy and fun. plus, i love watching it in the show, and the girls throwing things and burning down the building is one of my fav things. i love both of these songs so much and i physically can’t choose which one is my favorite. 

28. Something you like/have noticed about the show that you haven’t seen anyone else mention yet?

both of these things are only briefly mentioned in the show but i’ve still never seen anyone talk about them. this show takes place over the span of only 17 days (excluding the finale, obviously). in the beginning, when susannah had just arrived, asp got the call about the interview and she mentioned it being in 17 days. a lot happened in 17 days, especially since they were locked up for 8 of them. all of the events of act 1 took place over 9 days at most, and probably less, bc we know sheila didn’t respond right away in solitary and we’re not sure of how much time passed until she did. that feels like such a short time span to me. another thing is that they’re on the fifth floor. i don’t know why this stood out to me, but it’s probably something to do with the fire. they would have lit the fire and gotten out really quickly. i feel like imagining them on the first or second floor is different than imagining them on the fifth floor for some reason, and i just felt like pointing it out. 

39. What got you interested in LIHN?

I was bored in between classes and so i watched a random youtube video of musical clips. there were three clips of lihn in there, and they interested me enough that i watched the entire musical a few days later. i immediately fell in love and i’ve watched it almost every day since. 

40. What does LIHN mean to you?

love in hate nation means so much to me. i absolutely love this show. there’s so much to think about and so much to build on. musicals are amazing bc there’s choreography and lighting and lyrics and sets and so many things with hundreds of little hidden messages, and deciphering potential meanings for those messages is so fun. this show is no different. there’s so many things to analyse, and it’s such a good show that i want to analyse everything about it. i can’t put into words how much i love this show. just know it’s a lot.

47. A single wish for the future of the show?

it says a single wish, but i have three, so i’m going to list them all. if i could only have one it would for sure be the first one. first and foremost, i want a cast album. goodness gracious, i want a cast album. so bad. second, i really want this to get to broadway. more people need to know about this show. it’s so good and it’s worth everything. i want this to get big. third, i believe joe posted something about a potential proshoot? i could be wrong but that would be amazing to have.

my grammar is terrible and this is so much longer than it should’ve been, so i’m sorry about that. thank you so much for asking!! it was really fun to answer these. if anyone wants to ask more questions, the link to the asks is here

[inventors-fair]

Let’s Talk Flavor: Commentary

I would say overall that most of these cards were fantastic and a great number of the story ideas were good. There will be parts where I suggest edits, and the thing about story edits is, well, it doesn’t impact game design. That’s the thing about the Fair and the thing about Magic in general: the whole thing could be replicated with number systems and program lines and it would be the exact same. It’s the fact that a creature has Flying, or that a spell is made of Lightning that makes the game exciting. This was an interesting experiment. 

Let’s talk about cards!

@ace-hobo​ — Captain’s Wrench

This is a perfectly fine card. I like the “fixed” Voltaic Key style, the moderate power level. It’s a card that someone would probably be middling in artifact decks but fine in budget builds. I’m sort of feeling an Ixalan vibe, maybe with a little steampunkishness. I get that the wrench belongs to De, but it’s a little confusing regarding why they have the wrench. If they’re the captain and they’re not in the engine room, why is the card depicting a tool that would suit them better if they never left the engine room? Maybe the story should be about how DESPITE their captain status, they spend time in the engine room. It’s an easy enough tweak.

@cas-420 — Boiling Blood

The card is pretty good. It’s very aggressive and has synergistic potential. I really don’t see where the flavor is tying into it. I am favorably inclined towards your text, in concept. I can see where you were making the pun on “execution.” The wording is clunky with the repeated syntax, and could have just used the execution line. But what does that have to do with the card? The flavor evokes dissent, protest, retaliation. The flavor of the card evokes speed, purpose, initiative. It’s not a perfect tonal match. I would save the text for a different card with a clearer purpose

@dabudder​ — Wisdom of the Tides

In terms of card wording, I believe you’d be looking for something like Mysteries of the Deep, where you have an “instead” wording — unless you’re supposed to draw an additional card after? It’s a little confusing how you have it now. Still, Flourish is a fine mechanic, executed well. This was pretty close to being a runner-up. I like the nod towards crabs. We’ve been having a crab mood lately. Overall, not bad. Might need to be four mana, but that’s me being cautious.

@deafeningsandwichpeach​ — Jyska, Artificer Overlord

The name is probably the best thing about this card, and it’s fair enough for a legendary creature. Considering that this is essentially the Nim ability from original Mirrodin and that it’s a vanilla creature otherwise, I would contest that you’re severely overestimating the power level of this card. It’s not as strong as it seems. In terms of flavor text, this is basically exposition. I won’t dissuade you from story-rich cards, but there’s too much information presented in a manner that overloads the reader. Simplify, punch, beat, punctuate. In terms of presentation, the whole block should be in quotes, and you don’t need to attribute the quote if the character’s on the card itself.

@demimonde-semigoddess​ — Thaw

Great name, great snow flavor. I can see this in the tundra wastes, something emerging from the snow, bursting out. I had to do some digging. As it turns out, “gelid” is a real English word I had no idea about! I thought from the shackles and your flavor text that it was some Coldsnap lore. In terms of the text itself, it’s not bad. It’s just that the two statements are somewhat disconnected. They work both on their own, but together, they don’t gel well. Still, bonus points to mechanical flavor for an anti-ice feel.

@dimestoretajic​ — Phytotemple

The card is pretty funky for an uncommon, pushed but not busted. I’d call it a pain in the butt but no more than Wayfaring Temple. Ah, I see, the wayfarers, an homage. But there’s a lot I don’t understand. Who lost the wayfarers? Who’s saying this quote? Why did the phytotemples start appearing in general? Did the original wayfaring temples break into them? What does Selesnya have to do with construction crews? How is that related to the phytotemple’s physiology and motivation? Most importantly, why is there a street named after a Selesnya dissident? I think you should have focused on one specific area of the card’s backstory.

@emmypupcake — Bloom Nurturer

I was really surprised that there wasn’t a card already named this. In terms of card wording, look at High Tide or Bubbling Muck; I think it would read “Until end of turn, whenever you tap a Forest for mana, add an additional G.” The quote doesn’t light my world on fire, but it fits well and reads well. Just remember to indent the attribution with shift+enter. Overall? Good enough.

@fractured-infinity​ — Shara, Skalla Vengeant

I had to do a little digging, but I like how you incorporated Vivien’s lore in here. That said, Skalla is also, well, destroyed, presumably forever. Where did the spirit come from? Is it wandering around Skalla? In that case, did Vivien go back? Why? That raises a couple questions. In terms of this card, it’s broken. In anything but the most pushed Commander formats, it’s three mana to deal seven damage to any creature you want with minimal repercussions. Any prevention makes her impossible to deal with. In limited, she would sweep unfairly.

@ghost31415926535 — Man-Eater Wurm

Firstly, I would like to apologize for the flavor bar being in the middle of the line. That’s my bad. Let’s talk about the rest of the card. In concept, it shouldn’t be too overpowered. But deathtouch and trample together create complex rules baggage that many casual players simply don’t understand. Nine times out of ten, they’ll never be printed together. Seeing that this is exactly how you submitted it, consider for next time: Only the first keyword needs to be capitalized in a string. Something like Unearth needs its own line. The flavor text is standard enough. Just remember that quote attribution also needs its own line.

@gollumni​ — Gives You Hell

I love the name here. I got that All-American Rejects song stuck in my head now. Remember that one? Anyway. Firstly, you don’t need to put “target” there; “Enchant creature” implies it. Secondly, and least importantly, don’t forget you can add watermarks in MSE! Thirdly, the flavor text. I get it, but it doesn’t flow great. If there was some wordplay to be done on fire-spitting and whatever turn of phrase you used, like, “spitting poison” in the literal sense — I don’t know, I just expect something a little more concise. It’s a great concept and has the potential to be very funny, so points there. Also, the card itself? Fantastic.

@greensunzenith​ — Decorated Demon

Liking the name. I don’t like how this card has to be a rare. It’s more of an annoyance than anything. It feels like a card that prevents decisions. It’s not aggressive, nor is it particularly interactive. Conceptually it works, but I’m not in favor. The flavor text is a bit of a head-scratcher. The real question is: who is giving demons sigils? How do they become redeemed? On what world CAN demons become redeemed? This isn’t a Bant thing, is it? I’m a little lost as to the specifics, since it doesn’t play into any tropes and doesn’t inform the world in a recognizable way.

@i-am-the-one-who-wololoes​ — Goblin Decorator

If the flavor text had simply been, in quotes, “Earwigs would go so well with that wallpaper!”, then this card could have been a runner-up. Also, this should definitely be an uncommon. The effect is awesome and powerful and annoying and plays into a variety of strategies. Still, the flavor text is just...too much. It’s a lot of text that tells a story that doesn’t really need to be told. We get enough from the name and that last sentence, combined with a fun ability that matches the card. That’s all we need! Gotta simplify.

@ignorantturtlegaming​ — Dust, Revenant Force

For future cards, I would highly recommend reading up on design philosophy, what Magic’s colors are about, and how cards come into being. There are a lot of questions that this card raises, and a lot of things that need to be edited.

Green doesn’t get first strike, certainly not mono-green.

Why does this card cost five green mana? What does it provide for the limited/constructed environment?

It should be “Fox Warrior.”

The first thing about the flavor text is that there is far too much of it. It’s exposition for exposition’s sake. Fine in a high fantasy short story, but not on a Magic card.

The second thing about the flavor text is that Dust appears to be a white-aligned character through their actions and themes. I don’t feel anything green about them.

@juggernaut-is-a-metalhead — Devil’s Payment

I’m going easy on card art attribution since, well, it’s Disney and they are indeed evil, but in the future, please attribute it to the show itself and/or the director/copyright holder. So, the card itself. Is it supposed to be a common? Is it an homage to Cruel Bargain and Infernal Contract? This certainly isn’t a common effect, and for one mana, well, I don’t know what to say about this card. In terms of the flavor text, why is everything separated in lines like a poem? It’s way too long to fit into a card with three lines of rules text already. I don’t really understand what it’s even trying to say. The devil asked for the MAN’S youth. What does that has to do with his own? And why is it only sometimes capitalized? I don’t really understand this at all.

@koth-of-the-hammerpants — Hidden Bombardier

Great name. For the card text, it’s powerful, arguably fine in the right format, but very strong regardless. It also needs to say “It deals 3 damage” instead of just “Deal.” Gotta get past the 90′s, erryone. So now, the flavor text... I kinda get it? I just don’t understand what makes this card a shapeshifter. I don’t understand the world in which shapeshifters exist. This card feels like a Goblin. It’s an interesting kamikaze take, if a little too flowery and on-the-nose. It doesn’t exactly inform me, and it doesn’t exactly excite me.

@mardu-lesbian​ — Ballynock Adoptee

I had to look up to make sure that there were dwarfs on Lorwyn, and by golly, you’re right, there are! In RW hybrid in Eventide, anyway. And that brings up to a major story problem. By the introduction of dwarfs, the world has already plunged into Shadowmoor, and the thoughtweft has already been replaced with the mindweft. I’m stealing this from the wiki, so berate me if I’m wrong, but I always got the sense that the kithkin were highly xenophobic regardless of where the Great Aurora was. The jarring question that remains is: how does a non-kithkin creature become part of the thoughtweft/mindweft? It goes against what we know about the Kithkin and the world in general. If there’s a good explanation, I’m all ears, but I’m not convinced at this point in time.

@mistershinyobject​ — Phenax’s Messenger

Bonus judge trivia time: I studied Latin in high school and a little in college. From what I can tell about The Callapheia from other cards bearing it’s flavor text, it is meant to evoke classical poetry from Greek and Latin epics. The lines are written four at a time, indented carefully. HERE is a link to all cards with “Callapheia” in the flavor text. The gist is, this card does NOT evoke that. There’s a lot of text, a lot of quotes, a lot of forced story that could have been way punchier if you just had stuff about a snake eating a prophet. I love the card as a limited filler. But yeah, gotta do more research into what it means to have certain aspects on your cards.

@nicolbolas96​ — Unpredictable Betrayal

You know, it’s hard to evoke Nicol Bolas well in flavor text. He’s one of Magic’s major villains, a huge face of many sets, with years behind him. And honestly? You didn’t do a half-bad job in this flavor text. Props! That said, this card is way busted. For one, double strike doesn’t affect fighting at all, so that’s...something. For two, it would need to be three sentences; you did a run-on for that last one. For three, mechanically? This is a two-mana spell that eight times out of ten will absolutely destroy two creatures you don’t control. In limited, that’s insanely powerful. In any format that plays creatures, that’s usually amazingly good. There’s a reason spells like Blood Feud and Clash of Titans cost what they cost. Getting two creatures you don’t control to fight is powerful.

@nine-effing-hells​ — Cairn to Athusis

Actually, this card was one of my favorites from the contest. I’m a heavy Gruul player when I’m not playing cruel control, and I think the gist of this card is super interesting. You made it an enchantment artifact AND a shrine, giving flavor there as well to your new world. The only thing I would have changed is erasing that first sentence from your flavor text entirely. The second is so powerful that it stands on its own. It’s poetic without being overwrought, specific to the world and building off of known tropes. Also, it tells us that “orcs are RG in this world” which is a great mechanical touch. Just needed that little bit of trimming.

@real-aspen-hours​ — Deflect Consequences

Now this is an interesting card!... What practical use does it have? I’m curious what this has on something like Harmless Offering. I don’t believe that cast triggers will be affected. Maybe it would specifically go against things like “counter target spell you don’t control” or something, but if control changes... I’m uncertain of this card’s applications past the gimmick point. That said, it would be fun to cast a Leveler and have it enter the battlefield under an opponent’s control. I’m not in love with the flavor text. It’s fine. Doesn’t light my world on fire. A touch wordy. But it’s fine. Fits the name and the ability well, so that’s nice.

@reaperfromtheabyss​ — Inconquerable Alseid

Besides the fact that “Hope” should be lowercase and separated by a colon, the flavor text is really cool! I don’t like this card much. It’s honestly fine, and it’s an interesting commander card that could lead to some cool consequences, but there’s a reason Undaunted has reminder text. It doesn’t look good floating there by itself. There are some abilities that just need reminder text all the time, and Undaunted is on so few cards that it significantly needs this. I think I was a little too harsh on this card on my first go-around, but I haven’t warmed up to it yet. I think the great flavor could have been used on a simpler, more protective card.

@scavenger98​ — Kadalla the Scornful

I’m 99% sure it should go “First strike, deathtouch, haste.” Order of keywords is weird sometimes. So are creature types. I don’t really understand the world on which an Elf can be Mardu colors. It’s a stretch of the imagination to say the least. The card itself is...fine? I’d honestly make her an uncommon in today’s world. Yeah, she’s powerful, but she’s a 2/1 for three with all different mana symbols. Regarding the flavor, it’s well-worded, but it’s lengthy and doesn’t actually tell us anything about the character or the world. It doesn’t inform the card, and that’s its major misstep. Again, though, good writing.

@shandylamb​ — Multani’s Offspring

A fine card, a funny flavor. Just so you know, though, “Saproling” is pretty much only relegated to the token, and this card would probably see print as a plant or fungus. And additionally, as nice as the pun is... What’s this card even trying to say in the story? Multani’s only known child is Muldrotha, and that’s deep lore as-is. As funny as this card might be, it really doesn’t mesh with a Magic feel.

@starch255​ — Unscrupulous Horpske 

There are only two things I’m concerned about. Firstly: what about this creature makes it “unscrupulous?” What scruples does it have normally in its species? Secondly, this card is trying to make potato salad canon in the multiverse, and I don’t know if such a travesty would be allowed to happen. Potato salad is an affront to taste, no offense to the horpske.

Literally everything else about this card is a 10/10. I would also encourage you to work on a set symbol. Everyone should!

@teaxch​ — Hidden Seers

Interesting. So what timeline is this? Is this supposed to be, like, a return to Tarkir? Cool concept, I think, although I’m not entirely sold. After hearing the shaman’s whispers, why is Surrak’s first instinct to assume that without dragons a human would lead the clan? Wouldn’t the thought of a world without dragons evoke other thoughts and fears first? That’s my main hand-iffy-motion reason. This is also a supremely petty nitpick, probably the pettiest thing I’ve ever said about a card, but if this is the Dragon timeline then wouldn’t the watermark be the Atarka one instead of the Temur one?

@tmstage​ — Apostasy

Everything about this card is good...individually. Great name, but what does that have to do with the ability? What is it trying to depict? What does shuffling your library have to do with religious dogma? And the flavor text feels overbearing. Nykita as a character is someone I’d like to know more about, but this card doesn’t tell me much about her. It’s mostly that the mechanics and the flavor don’t mesh in the least, and, well, it’s not a good mechanic. Shuffling is time-consuming, game-prolonging, and has no discernible benefit to the game outside of incredibly niche cards that mostly don’t affect you as the player. And the more I read the flavor text, the less it makes sense. “Allow the world to deform your flawed notions?” It sounds awesome, but what does it mean?

~

Thank you all for your submissions. New contest tomorrow. 

[bearholdingashark]

Hurt Comfort Exchange 2021 Creator Letter

Hi! Thank you for creating something for me! I’m excited to see what you create! :D

General info

I adore tropes, the more ridiculous the better, and really what I love about ridiculous tropes is how it gives the creator an opportunity to explore the characters and their dynamics and motivations. Fun plots are great, but the characters and what the plot reveals about them is what I really love.

I also really love AUs (especially modern/historical AUs) or crossover fusions, and love how much changes and how much doesn’t. But straight up canon stuff is really good too. Really, character focused stuff is what I love most. I do also think canon divergence AUs can be really great, so feel free to play around with canon as well.

While I’m a big fan of romantic ships, I also love relationships in general, romantic or not. Just characters being there for each other is great. I love fluff, but more serious/angsty/dramatic stuff is just as good too. :D And unless specifically stated otherwise, I have no problem with characters other than I requested in the story, but I want the requested characters to be a main focus.

In relation to hurt/comfort, one thing that I really love is desperation: desperate kisses, desperate plans, desperate goodbyes, etc. 

A lot of the freeform tags that I selected, (and I selected a lot) tend towards more dramatic plots/circumstances, but feel free to go where you feel comfortable on the fluff/angst/dark/light spectrum. 

My DNWs (also listed on my sign up) are:  

smut

Romance is great, but nothing more than kissing/fade to black for the physical stuff.

explicit gore

violence and injury are fine, but nothing super graphic, generally I would say canon typical violence/gore or less is a good way to go

Sexual assault/rape

I really don’t want this to be the hurt that any of the characters go through

permanent character death of requested characters

angst without a happy (or at least hopeful) ending

Obviously, there’s likely to be at least some angst, seeing as it’s a hurt/comfort exchange, but I just don’t want the story to end without any sort of hope. 

I hope this helps! I’m including my general prompts below, but feel free to go where the inspiration takes you. My prompts tend to be more fic focused, but that doesn’t mean I don’t want art, I’m just not as good talking about what I like there. Go with whatever style you feel fits best/you’re most comfortable with and I’ll be happy. :) Happy creating! 

Request 1

Fandom: Scarlet Pimpernel - Baroness Orczy

Relationships: Marguerite Blakeney/Percy Blakeney (Hurt Percy)

Prompts: 

Marguerite helping with the League somehow--whether on a regular basis, or stepping in because Percy’s hurt. (I especially love the latter)

Percy getting hurt trying to protect Marguerite and/or the League, and Marguerite comforting him/patching him up after they’re all out of danger

As you can tell by my freeform selections, I’m all about the DRAMA, but I think this is a fandom where really going hog wild with the dramatic stuff could be so great. (Percy literally kissed the ground Marguerite walked on in the book because he was pining so hard, I’m not sure anything can top that in terms of being Over The TopTM :D)

Bonus points if Percy is being his little shit self even while hurt

In a totally different direction, if we match on ‘Character who regularly takes risks gets hurt while doing something that is usually safe’ or that interests you, I think that could be a really funny direction to take the story/art, especially if Percy tries to convince Marguerite that he received his injury in a totally dashing manner, and not something really simple and dumb, and Marguerite is not buying it

Request 2

Fandom: Smallville

Relationships: Clark Kent/Lois Lane (Hurt Clark)

Prompts:

While I don’t watch the other current DC shows, I have seen the Smallville scenes in the Supergirl/Flash/Multiverse crossover episodes, so if you would like to explore Clark giving up his powers, I think that would be interesting, but I am also very happy with things either set before that, or completely ignoring that.

If not exploring Clark without powers, (whether using the above canon or going completely AU), what I love about this request is that when Clark is physically hurt it usually means something is VERY WRONG. 

Lois having to comfort a hurt Clark and help him figure out what’s going on and how to fix it. 

Lois protecting a hurt Clark and defending him when he can’t defend himself against a powerful enemy. 

Lois and Clark on a Daily Planet assignment when something goes wrong and Clark gets hurt

Clark getting hurt protecting Lois. (Bonus points if combined with the above prompt where Lois protects him after he’s hurt)

Exploring Lois’ line “Being a hero's wife means never accepting defeat”, either in context of the gladiator episode, or in a later situation

Request 3

Fandom: Smallville 

Relationships: Clark Kent/Lois Lane (Hurt Lois)

Prompts:

While I don’t watch the other current DC shows, I have seen the Smallville scenes in the Supergirl/Flash/Multiverse crossover episodes, so if you would like to explore Clark giving up his powers, I think that would be interesting, but I am also very happy with things either set before that, or completely ignoring that.

This request could be a little lighter than the one with hurt Clark, simply because Lois is much more easily hurt/sick as not a superpowered being, but I am also just as happy with the angst and the drama

Lois being protective (whether of Clark or their friends or random civilians) even after being injured

Clark feeling guilty (whether it’s at all justified or not) about Lois being hurt and Lois having to get after him a little for it/reassure him

Exploring Lois’ line “Being a hero's wife means never accepting defeat”, either in context of the gladiator episode, or in a later situation

Request 4

Fandom: Captain America (Movies)

Relationships: Peggy Carter/Steve Rogers (Hurt Steve)

Prompts: 

I am totally okay with basically any form of canon/au here: modern Steggy, modern Steggy because of time travel, Endgame compliant, Skinny!Steve in any way, CA: TFA missing scene/mission, Steve is found during the 40’s/Never goes into the ice, etc. This can also be either established or pre/beginning of their relationship too. 

Steve doing something really reckless to save people, and Peggy berating him a little, but also there’s comforting and tenderness there

I love mission related stories (although don’t feel you need to go too hard on the plot heavy stuff if that’s not your thing), but no power AUs are great too

Steve hurt and having to pretend he’s not while they’re undercover (either established relationship or pre-relationship pining)

I would also love Peggy doing some protecting of her own and being bad ass as well

In parallel to the scene at the end of First Avenger, Peggy having to watch/listen to Steve getting hurt, while she coordinates the mission/his rescue, and then seeing the damage in person after he’s home

Bonus points if they comfort each other

Request 5

Fandom: Knives Out

Relationships: Benoit Blanc/Marta Cabrera (Hurt Marta)

Prompts:

While I love established relationship scenarios for them (and in general), I think this could lead to some great love confessions and getting together scenarios.

This could be set in the movie ‘verse or in an AU if you feel inspired to go that direction

As far as other characters go, I love Harlan (Harlan Lives AUs are my favorite), as well as Lt. Elliott and Tropper Wagner. The Thrombeys are really fun, but I don’t want them to be the focus, especially Ransom. (I really don’t want any hint of romance between Marta and Ransom.)

Marta gets hurt on a case, and Benoit has to take care of her after, all while dealing with the emotions of seeing her get hurt (whether his feelings are known or not at that point)

Bonus points if they’re undercover as a couple on the case

Marta getting hurt protecting Benoit and/or other people

While many of the freeform tags I selected reference physical pain, emotional hurt would be great too, especially with everything Marta is dealing with post movie. (And during the movie. #ProtectMartaCabrera)

One of my favorite things about Benoit and his interactions with Marta in the movie is just how tender he is, almost from the word go. Regardless of the actual plot/scenario, I would love that tenderness to be on full display.

Request 6

Fandom: WandaVision

Relationships: Darcy Lewis & Jimmy Woo & Monica Rambeau (All Hurt)

Prompts:

I have seen through the finale, so don’t worry about needing to avoid spoilers or anything like that.

This could be set during the show, with canon AU to add in things we didn’t see, or set after the show with them teaming up again. I would also love a full on AU if that’s where you’d like to go. 

Slight canon AU of the last episode where the three of them meet up again after everything and comfort each other/catch each other up/celebrate/process/etc

I’m a little bitter we don’t see them all together after everything. Yeah, Darcy’s line was funny, but I wanted more scenes with the three of them.

Most of the freeform tags I’ve selected are about physical hurt, but emotional hurt is great too, and some combination of the two among the three of them would be cool too. 

I would especially love Monica’s powers being a factor in this, and all of them trying to protect each other in various ways. They’re all so competent and strong in different ways and I love seeing that come together in their teamwork.

Just them being a supportive team and relying on each other after a difficult mission/experience. 

Request 7

Fandom: Spider-Man: Into the Spider-Verse

Relationships: Jefferson Davis & Rio Morales & Miles Morales (Hurt Miles)

Prompts:

While I do love AUs, this request one is where I’m less interested in a complete AU. I would prefer him to still be Spider-Man, even if you change other things about the canon. 

Jefferson and Rio know that Miles is Spider-Man, but they found out/figured it out and Miles didn’t tell them, so they’re letting him think they’re still in the dark, but they’re doing what they can to help and keep him safe 

Jefferson and Rio don’t know that Miles is Spider-Man and how they find out is when he’s injured

Bonus points if he gets injured protecting one or both of them

Miles is starting to feel the overwhelming weight of being a teenage superhero and without telling them specifics, goes home to get comfort from his parents

This could involve both physical and emotional hurt, or just one of those

Just lots of soft, tender family comfort in and around the angst

[aflawedfashion]

unpopular opinion: the defiance finale was perfect

strongly agree | agree | neutral | disagree | strongly disagree

Thanks, you really wanted to set me off, huh? Ok, I’ll take the bait.

I love Defiance. I do. I would not make this post if I did not love Defiance enough to be this disappointed in it, so here we go...

Ok, so, Defiance was a show about people coming together. Obviously it’s not going to be pretty if you take people from several different planets (the aliens weren’t even all from the same planet), have them fight a a brutal war against each other that nearly destroyed the only planet they have left, and then tell them that it’s now time to play nice and be friends. It’s going to be messy. And that’s ok. There is no story without conflict, and this puts us at the perfect starting point for a whole lot of character development. Love it.

The endgame of the show should have been people finally coming together, but was it that? No, it was about the small group of characters who actually survived this brutal show finding an entire race of aliens that had to be shot off into space because they can’t kill them all, but they’re too dangerous to actually live with. Aliens played by black actors (although they are painted purple and I think the writers actually had good intentions when they created the Omec, you can’t not notice how terrible this turned out.... unless, I guess, you’re the people who wrote this). They were purple people eating aliens. 

Other than T’evgin and Kindzi, the Omec never even had a voice, but the entire finale hinges on them. We see in their faces that they probably wouldn’t want to kill everyone if they knew more about the people of Earth, but we never get to see resolution to that. We never see them revolt against Kindzi. They never get to speak for themselves or fight for themselves or learn about the people of Earth. They just start eating everyone because the show wanted the main characters seem justified in shooting them. They’re treated like props.

The show wants Doc and Amanda to be seen as heroes for shooting the evil aliens (it frames them heroically when they do it), while also having Irisa be the hero for saying they should try to save them without ever giving the Omec a proper voice. You can’t do this all in two episodes and call it good. Nolan and Amanda had even stood up for the Omec until the very last moment, until Kindzi raped Nolan, killed her father, caged the people of earth, turned doc yewll into a slave, and ordered her followers to eat their enemies. Nolan and Amanda truly just wanted to do what was right and got hammered into the ground until they didn’t know what else to do. I get where they’re coming from. I get where Irisa’s coming from, but why are we here?

By giving the Omec a voice, there’s an arc to be found in these two episodes, and I can see what the writers were probably going for. I could even pretend I loved this episode and write a meta about the interesting parts of this kind of conflict, but it’s not actually developed in these episodes. They’d need an entire season arc, and I don’t really want that arc. Look, down to the basics, do I think we needed to end Defiance on purple people eating aliens? No. Cut the people eating and rewrite the finale, and the Omec could have been good in the end instead of a pile of shock value tropes stacked on top of each other (I forgot bring up that they were also incestuous). Their power, their status, their history with the Votans can exist without the people eating.

And what really bugs me about this is that there was a far superior finale arc in front of the writers that they left in 3x11 when Kindzi killed T’evgin. The VC were a great villain that had already been established and fit the core narrative of the show. They were scary, they were powerful, and they were a complex threat. We that even everyone in the VC doesn’t all agree, but they’d all level defiance if they needed to. So many potential conflicts here.

Silora Voske. Great character who liked Amanda, and genuinely wanted to make peace with Defiance, but peace with the VC means playing nice with the VC, something Amanda has never wanted. Silora would have shot Amanda in the back of the head if she betrayed her, no matter how good of friends they became. Now she’s dead and Defiance will be blamed. So much potential.

There is no government above Amanda in Defiance. With the United States long gone and the E-Rep’s power only lasting a season, Defiance is free from any larger government or country, and Amanda wants to keep it that way. Unfortunately for her, the VC wants more power, and Defiance is just this little town all on its own trying to swat away every fascist government that tries to take over.

And that’s where the Omec should have come into these last few episodes. We have all these Omec on a spaceship, why make them cannon fodder when you could bring them together with Defiance to fight against a common enemy - an enemy who wanted to divide humans and Votans. It would have made this a story about people coming together, exactly what the show wanted to be in the beginning.

Now for the characters, the reason I love this show, the reason this finale makes me emotionally mad at it on top of being frustrated by the plot.

Nolan and Irisa. They had been wandering around the country for 15 years with this vague goal that one day they’d get to Antarctica. They didn’t even know if it was paradise or not, and honestly, it didn’t really matter because they weren’t really trying to get there. In 15 years, they traveled from Denver to Defiance/St. Louis. That’s not very far. Truthfully, I doubt they ever really tried to get to Antarctica, but getting there wasn’t the point. Everyone needs something to live for, a dream, thoughts of a better future. Antarctica was just a fantasy that gave them a reason to live in a shitty world. 

But then they get to Defiance, and Nolan instantly finds a purpose and meets people who give him hope that the world he actually lives in might not be entirely horrible. He tells Irisa that Antarctica’s not real, but Defiance is. They can make a difference here. They can be happy. There’s no more reason to chase after a fantasy. He becomes a better, more hopeful person by finding a reason to get up in the morning and finding people he can believe in.

But... then in the finale, he just gets shot into space and Irisa makes a joke that he’s going to be flirting with alien princesses and getting in trouble. What is this negative character development the show is trying to sell me as a good ending for Nolan? Why are we resetting him to back before he found a purpose? Can male writers really never let go of their Han Solo fantasy from when they were 13, and let these characters grow as they deserve, as they already had?

Nolan spent 3 seasons talking about how he’s a one woman guy, even breaking off a friends with benefits relationship when he realizes he’s in love with Amanda. He thinks Amanda’s into someone else at the time, but he still can’t be with someone else when he’s in love with her, even when his fuck buddy doesn’t care because it’s a meaningless sexual relationship. Nolan doesn’t deserve to be reduced to the guy who drives around and has funny sexual escapades (and although I’m sure he’s had a few funny one night stands in his life, he had sex with three women in three seasons, and all relationships lasted more than one episode, note: I will not count rape in this total, so why are they trying to sell me on the idea that funny sexual escapades are a defining characteristic of his?)

Nolan deserved to find actual, real, attainable happiness with Amanda and his daughter, not get tossed into space away from the people he loves on some writer’s dumbass teenage Han Solo fantasy.

And Amanda, the love of both Nolan’s life and mine, she has been emotionally destroyed by the show, and very nearly physically destroyed as well. The writers wanted her to die a martyr, and only backed out of it when they realized there was no one qualified to be mayor in season 4, and they finally realized that killing all your characters for shock value actually has consequences. She deserved better than that.

Before the end of the finale, she thought Nolan would come back because he always did. She had hope for herself and for him. They were going to be be together and be happy. She deserved to be happy. And then in the final lines of the series, Irisa says Amanda thinks Nolan is dead. Where’s her hope? Why did the writers take that from her? Amanda is the person who made everyone want to be better. She gave people hope when they had none. Amanda represented the possibility that all these people could live together, and the writers wanted her to die while she was shooting aliens. They wanted to kill the person who represented the hope that humans and aliens could live together, and yeah, that pretty much sums up the finale.

And they don’t kill her. Instead, they just leave her sad, alone in her office, and without hope. 

Thanks.

I hate it. 

This episode pieces together a bunch of action, drama, and emotional moments to make you feel a lot of things as you watch it, but it’s not good on any deeper level. It betrayed everything I loved about this show, so I hate this finale.

[seolcs]

           °✧｡× :  (   moon  gayoung  +  cis  female  +  she  /  her  )   ───   welcome  to  roselake  village  ,  SEOLA  LIM  !   oh  ,  well  ,  i  suppose  you’ve  been  here  for  ALL  YOUR  LIFE  ,   so  perhaps  you  already  know  your  way  around  the  town  .   well  ,   you  are  the  TWENTY  THREE  year  old  LIBRARIAN  ,  though  ,  right  ?  the  harvest  sprites  told  me  about  you  !  they  said  you  DO  believe  in  the  harvest  goddess  .  oh  ,  my  .  well  ,  that  explains  why  they  also  said  you’re  quite  BEWITCHING  and  SEDULOUS  ,  but  can  also  be  a  bit  ENIGMATIC  and  MERCURIAL  .  either  way  ,  you  should  be  a  wonderful  addition  to  our  island  !  i  guess  i’ll  leave  you  to  it  now  ,  but  if  i  need  you  ,  i  suppose  i’ll  just  look  for  you  at  THE  MAGIC  SHOP ,  yeah  ?  we  hope  you  love  it  here  as  much  as  we  do  !  oh  ,  and  remember  not  to  go  into  the  tulsy  woods  !  the  distorted  hum  of  opera  music  just  out  of  reach  ,  dirt  caked  underneath  fingernails  ,  eyes  that  know  more  than  lips  tell  !  ✧ 

━  ˙ ˖  ☆     QUICK  STATS  !

full  name  :  seola  lim  .

nickname(s)  :  lala  (  yea  like  the  teletubby ...  it  was  a  childhood  nickname  </3  )

zodiac  :  pisces  sun  ,  virgo  moon  (  click   !  )

sexuality  :  bisexual  . 

occupation  :  librarian  &  witch  .

birthplace  :  roselake  village  ,  maine  .

current residence  :  roselake  village  ,  maine  . 

━  ˙ ˖  ☆     BACKSTORY  !  (  tw  :   vague  mentions  of  an  accident   )

she’s  a  fraternal  twin  <3  if  u  read  julie’s  intro  u  know  ,  but  seola  and  sora  are  the  daughters  of  roselake’s  mayor  !   she  was  born  a  whole  ten  minutes  after  her  sister  so  she  takes  pride  in  not  being  the  hag  ...  sora  is  so  brave  for  her  sacrifice  

so  their  dad  is  the  mayor  !  he’s  been  roselake’s  mayor  for  a  while  now  ,  keeps  getting  reelected  bc  why  fix  something  that  seems  to  be  working  right  ..  aha  more  about  that  later  ...  &  their  mom  is  a  witch  !  only  on  the  down  low  though  ,  she’s  not  open  about  practicing  magic  &  is  much  better  known  for  and  adored  for  her  philanthropy  around  roselake  !  both  sora  and  seola  have  the  ability  to  use  magic  ,  but  while  the  gift  seemed  to  come  naturally  to  sora  ,  seola  high  key  struggled  with  it  /:

their  mom  was  a  very  patient  teacher  but  that  didn’t  stop  seola  from  feeling  inferior  to  both  her  sister  as  well  as  her  powers  in  general  .  she  very  much  felt  like  a  big  flop  ,  and  as  a  kid  &  preteen  she  struggled  a  lot  with  jealousy  and  frustration  and  just  feeling  second  best  in  a  sense  ?  basically  she  really  felt  like  she  was  letting  everyone  down  when  in  reality  the  only  person  who  was  putting  pressure  on  her  was  herself 

in  good  old  2010  ...  13  year  old  seola  &  sora  snuck  into  tulsy  woods  (  even  though  their  dad  always  said  never  to  go  in  there  )  to  play  around  with  their  magic  ,  got  into  an  argument  ,  and  that’s  when  seola  accidentally  ended  up  hurting  sora  really  really  badly  ): 

after  the  accident  seola  wanted  to  give  up  magic  forever  ,  but  her  mom  convinced  her  that  the  best  way  for  her  to  get  over  her  fear  of  ever  hurting  someone  again  was  to  practice  .  so  while  sora  got  closer  to  their  father  ,  who  had  covered  up  the  accident  in  the  woods  and  used  it  to  spread  his  own  agenda  ,  seola  got  much  closer  with  their  mom  

determined  to  get  better  at  controlling  her  abilities  and  also  super  terrified  that  she’d  hurt  someone  like  she’d  hurt  her  sister  if  she  didn’t  ,  seola  practiced  and  practiced  ...  then  she  practiced  some  more  .  while  most  people  her  age  were  going  through  high  school  focused  on  going  to  college  afterwards  ,  seola  was  counting  down  the  days  til  she’d  be  free  to  do  nothing  but  learn  as  much  as  she  could  about  being  a  witch  

it  was  around  this  time  she  also  started  to  get  ...  suspicious  about  her  dad  and  his  intentions  .  she  was  grateful  that  he  didn’t  tell  the  truth  about  the  accident  ,  scared  ppl  would  have  viewed  her  as  a  monster  if  they  knew  what  really  happened  ,  but  the  way  her  dad  was  acting  about  tulsy  woods  was  super  suspicious  especially  with  everything  happening  with  the  harvest  goddess  and  the  sprites .  basically  ...  seola  suspects  he  might  have  something  to  do  with  whatever’s  going  on  in  the  woods  ... 👁️👁️

after  high  school  seola  stayed  in  roselake  !  she  didn’t  go  to  college  like  sora  ,  much  to  her  dad’s  dismay  ,  but  she  did  take  some  online  classes  here  &  there  (  mysticism  and  rituals  ,  alchemy  ,  some  history  ones  ,  as  well  as  a  medieval  monsters  literature  class  ...  just  for  fun  <3  )  she  also  snagged  a  job  at  subtext  as  a librarian  ,  mainly  for  that  sneaky  access  to  all  the secret garden  books  

initially  she’d  just  been  curious  about  her  own  magic  ,  since  she  knows  it  doesn’t  come  from  the  harvest  goddess  like  a  sprite’s  magic  does ,  but  with  everything  going  on  she’s  extended  her  research   to  include  both  the  goddess  &  the  sprites  to  see  if  maybe  she  can  understand  whatever  her  dad  is  trying  to  do  in  roselake  

━  ˙ ˖  ☆     PERSONALITY  +  TIDBITS  !

not  2  be  cliche  but  she  really  is  a  mysterious  girl  SJDBWJBDJW  since  she’s  haunted  by  the  idea  that  she’s  essentially  always  on  the  brink  of  losing  control  and  hurting  someone  again  like  she  did  with  her  sister  ,  she’s  got  a  very  elusive  personality  .  she  tries  her  best  not  to  get  too  close  with  anyone  ,  but  unfortunately  for  her  it’s  the  kind  of  cool  and  detached  air  about  her  that  usually  makes  people  curious  to  know  her  ,  especially  since  her  twin  sister  is  so  seemingly  open  &  very  focused  on  her  reputation  in  roselake  .  seola’s  always  tells  herself  stuff  like  oh  to  be  a  fly  on  the  wall  ...  😔  but  the  reality  is  she  doesn’t  want  to  be  invisible  to  people  at  all  ,  she’s  just  traumatized  from  the  accident  in  tulsy  woods  /: 

so  you  have  her  enigmatic  persona ... versus  her  deep  desire  to  be  understood  and  loved  despite  whatever  dangerous  and  uninhibited  thing  she’s  convinced  lurks  around  inside  her .  yeah  ...  she’s  not  so  good  at  following  her  own  don’t  get  too  close  with  people  rule  SJDBWJDJW  most  of  the  time  what  ends  up  happening  is  her  pushing  those  who  are  already  close  away  ,  only  to  reach  for  them  again  later  ,  only  to push  them  away  ...  you  get  it  .  it’s  easy  to  write  her  off  as  a  moody  rich  girl  if  you’re  not  in  her  circle  ,  but  it’s  deeper  than  that 

she’s  got  a  bad  habit  of  fixating  on  things  and  then  letting  them  consume  her  .  sometimes  it  works  to  her  benefit  ,  like  focusing  so  hard  on  practicing  her  magic  and  finally  becoming  good  at  it .  most  of  the  time  ,  though  ,  her  curiosity  morphs  into  obsession  ,  and  it’s  very  easy  for  her  to  get  overwhelmed  and  feel  lost 

she  has  a  big  old  soft  spot  for  creepy  or  spooky  things  and  people  ,  100%  believing  that  more  often  than  not  the  stuff  we’re  afraid  of  is  stuff  we  just  don’t  understand  .  sometimes  ,  though  ,  her  attraction  to  the  “  dark  ”  is  a  manifestation  of  her  own  internalized  belief  that  there’s  something  wrong with  her  &  that  she’s just  as  capable  of  bad  as  she  is  good  ... cannot  believe  freud  just  possessed  my  body  like  that  😳 

if  she  was  an  animal  she’d  for  sure  be  a  cat  JSBDJWBDJW  comes  &  goes  as  she  pleases  ...  affectionate  &  warm  on  her  own  terms  ...  sometimes  she  brings  people  weird  gifts  that  are  only  really  gifts  in  her  eyes  ...  yea  <3  

high  key  has  a  huge  guilt  complex  bc  of  that  juicy  unresolved  childhood trauma  !  that  and  the  fact  that  she’s  pretty  sure  her  family  is responsible  for  hurting  so  many  other’s  in  roselake  ...  it’s  a  lot  .  so  even  though  she’s  not  as  warm  and  friendly  as  sora  is  ,  she’s  just  as  kind  ...  maybe even  too  kind  sometimes  ,  she  just  feels  like  she  has  a  lot  to  prove  &  make  up  for  yk  

voted  most  likely  to  dump  you  &  say  it’s  not  you  ,  it’s  me  ):  

big  fan  of  creating  ambiance  she’s  all about  turning  of  the  big  lights  and  turning  on  a  lamp  ... maybe  lighting  some  candles  if  she’s  feeling  crazy  idk ... 

if  you  don’t  know  she’s  a  witch  you  probably  think  seola’s  about  to  drop  the  hottest  skincare  line  of  2020  because  she  do  be  collecting  those  herbs  and  oils 

━  ˙ ˖  ☆     WANTED  CONNECTIONS  !  (  all  open  to  all  genders  )

BEST FRIENDS  :  technically  sora  is  always  gonna  be  her  number  one  best  friend  🥺  but  i  would  really  love  for  seola  to  have  at  least  one  person  who  really  truly  knows  her  ,  someone  she’d  drop  anything  for  to  help  them  if  they  needed  &  vice  versa  !   

CHILDHOOD /  FAMILY FRIENDS : open  to  muses  that  grew  up  in  roselake  !  maybe  their  parents  are  friends  ,  or  maybe  they  were  just  neighbors  or  in  the  same  classes  in  elementary  school  .  i  have  ...  lots  of  ideas  for  this  trope  hehe  <3  give  me  someone  who  seola  pushed  off  the  swings  when  they  were  tiny  and  now  they’re  still  sworn  enemies  to  this  day  ...  childhood  friends  that  stayed  close  ,  but  after  the  accident  in  tulsy  woods  seola  distanced  herself ,  someone  who  was  technically  her  first  love  who  she  probably  had  a   little  wedding  ceremony  with  when  they  were  like  five  with  candy  rings  ,  childhood  friends  that  grew  apart  and  now  it’s  sad  and  awkward  ,  childhood  friends  that  stayed  close  and  have  embarrassing  stories  to  tell  about  each  other  ...  i’ll  stop  here  JSDBJWD    

CONFIDANTS  :  the  one  person  seola  keeps  finding  herself  talking   to  about  the  things  she  usually  keeps  inside  &  they  do  the  same  with  her  .  i  think  it’d  be  funny  if  both  of  them  find  it  weird  to  do  things  like  go  out  to  lunch  or  shop  together  because  that’s  not  what  they’re  used  to 

SUBTEXT  :  people  who  know  her  from  the  library  !  maybe  your  muse  spends  a  lot  of  time  there  so  they  recognize  seola  (  or  maybe  they  even  go  just  to  see  her  )  ,  maybe  your  muse  needed  help  finding  something  once  and  seola  helped  them  out  &  now  they’re  kinda  pals  ,  or  maybe  your  muse  is  someone  seola’s  requited  to  help  her  out  with  her  own  research  with  the  secret  garden  books    

FRIENDS  THAT  DATED  :  maybe  things  just  ended  amiably  between  them  ,  or  maybe  it’s  like  an  “  everyone  told  us  we  should  date  so  we  tried  it  and  boy  was  that  the  weirdest  thing  we  ever  did  ”  situation  .  either  way  the  outcome  is  they’e  still  friends  <3

CAHOOTS :  what  is  this  you  might  ask  ?  someone  seola  can  be  in  cahoots  with  .  she  has  a  possibly  dangerous  idea  that  no  one  else  is  likely  to  say  yes  to  ?  she  goes  to  your  muse  .  your  muse  has  an  idea  no  one  in  their  right  mind  would  say  yes  to  ?  they  go  to  seola  .  these  two  are  in  cahoots  !  

BAD  INFLUENCE  :  i’d  love  for  someone  who’s  trying  to  get  seola  to  dabble  into  darker  magic  /  abandon  her  quest  to  figure  out  what’s  going  on  in  the  woods  and  save  the  harvest  goddess .  she’s  pretty  hard  to  sway  if  she  thinks  she’s  doing  the  right  thing  ,  so  bonus  points  if  your  muse  is  good  at  manipulation  and  has  a  convincing  case  that’s  more  than  just  oooh  be  bad  ;)  

SPRITES  &  MAGICAL  BEINGS  :  sorry  human  muses  ...  these  are  not  for  you  </3  i  would  love  if  any  of  the  other  witches  /  wizards  helped  seola  on  her  journey  to  practice  her  magic  and  get  better  at  it  !  maybe  someone  who  knows  what  really  happened  with  sora  in  the  woods  but  still  decided  to  help  her  /  not  judge  her  ,  OR  maybe  someone  who  knows  what  she  did  and  is  now  scared  of  her  /  doesn’t  think  she  should  be  doing  magic  still  at  all  .  as  for  sprites  i  think  seola  would  be  super  curious  about  them  &  the  harvest  goddess  ,  so  maybe  some  sprites  who  are  willing  to  talk  about  their  abilities  with  her  and  their  connection  to  the  goddess with  her  &  are  maybe  even  working  with  her  to  try  and  figure  out  what’s  going  on  in  roselake  .  then  on  the  reverse  of  that  maybe  sprites  who  think  seola’s  too  nosy  for  her  own  good  ,  or  who  don’t  trust  her  because  they’re  also  starting  to  get  suspicious  about  the  mayor  ,  or  maybe  they  just  don’t  trust  any  magic  that  doesn’t  come  from  the  harvest  goddess  

MAYOR LIM  :  if  you’re  trying  to  get  to  her  father  for  whatever  reason  ,  sora’s  definitely  the  easier  ticket  in  ,  but  maybe  your  muse  is  trying  to  be  less obvious  about  it  so  they  try  through  seola  !  i  would  also  ...  really  love  someone  she  can  sneak  off  with  during  town  events  where  her  dad  is  involved  when  she’s  supposed  to  be  with  her  family  promoting  that  shiny  lim  reputation  hehe 

SISTER  SISTER  :  connections  through  sora  !  this  is  ...  always  the  best  part  of  having  a  sibling  in  the  same  rp  you  get  to  make  connections  through  them  so  give  me  all  sorts  of  stuff  it  could  be  dramatic  like  your  muse  hurt  sora  &  now  seola  hates  them  or  it  could  be  wholesome  too  !  not  2  be  cliche  but  ...  love  triangle  anyone  ...  just  kidding  ...  unless  ?  🙈  

THE  BIG  EX  :  seola’s  first  real  relationship  ,  and  first  real  heartbreak .  everyone  before  them  had  been  an  unofficial  thing  ,  but  your  muse  was  the  real  deal  .  maybe  one  or  both  of  them  ruined  it  by  being  too  scared  of  their  feelings  to  stick  around  ,  maybe  secrets  and  insecurities  got  the  best  of  them  ,  maybe  one  of  them  was  willing  to  try  but  the  other  wasn’t  .  either  way  it  ended  badly  ,  and  whether  those  feelings  are  resolved  or  not  ...  the  world  is  our  oyster  baby  !  

HOOKUPS  :  friends  with  benefits  and  it’s  not  awkward  between  them  ,  friends  with  benefits  and  it’s  super  weird  between  them  because  they  may  be  crossing  over  into  real  feeling  territory  ,  one  night  stands  /  hookups  that  were  huge  mistakes  ,  one  night  stands  or  hookups  that  were  or  are  being  kept  secret  for whatever reason  ,  someone  who  leads  seola  on  but  never  gets  serious  about  her  ,  or  someone  she  leads  on  but  she  never  gets  serious  about  because  every time  they  get  close  to  anything  real  she’s  pushing  them  away  

WILL  THEY  WON’T  THEY  :  a  friendship  that  always  teeters  on  the  line  of  something  romantic  !  maybe  they’re  both  oblivious  to  the  chemistry  /  tension  or  maybe  they’re  aware  of  it  because  they  get  jealous  when  they  hear  about  the  other  being  with  someone  else  …  maybe  they  refuse  to  do  anything  about  it  because  they  don’t  want  to  complicate  things  or  maybe  they  purposefully  cross  lines  when  they  feel  that  jealousy … could  be  more  angsty  or  it  could  be  more  wholesome  depending  on  which  way  it  goes  😈

i  wont  lie  to  u  ive  been  writing  this  all  day  ...  but  we  finally  made  it  baby  😭😭😭  im  sosososo sorry  for  the  length  &  the  wait  ...  also  i  feel  like  my  charas  always  change  a lil  once  i  actually  start  plotting  &  writing  so  sorry  again  if  u  see  me  finally  writing  as  seola  on  the  dash  and  ur  like  lit  rally  who  is  that  ... JSDBWJBDWBDJ  please come message me on discord to plot  ! @ seulgi ily ʕ´• ᴥ•̥`ʔ#8172  maybe ...  give  this  a  like  if  u  wanna  …  do  that  ?  thank  u  for  reading  all  this  ur  so  brave  for  that  stay  sexy  stan  loona x