#genuinely a good utility for that stuff specifically. it's just everything else about it that sucks

[chaddicus]

one negative to tumblr only having following & mutuals, & not tumblr friends, is bc it doesn't work to make a post about something something tumblr foes. and facebook isn't ready for that joke :/

[wishing-stones]

okay very random and very specific but

the boys’ reaction with someone who has a constant poker face and looks uninterested in everything but the moment they see those dumb compilations of funny/adorable clips of puppies and kittens doing dumb stuff they’re laughing and giggling and smiling so hard

I know this is very random but I can’t keep thinking of killer always showing them those kind of videos just to see them smile and laugh

Good luck anon. They see this as a challenge.

Killer most especially. You like cute things, huh? Do you like laughing at cats leaping like they've been shot? Always tickles the funny bone. Also, he loves cats, so if you're having an especially down day, it's actual kitten therapy time. You can't frown while you're holding a kitten that's determined to climb all the way up you like a ladder. Dust enjoys sitting and watching these, too. It's a nice chill activity and cute aggression is much better than Actual Aggression. Plus, getting to see you smile makes it all the better. Also, it's an excuse to laze about and watch videos. Win/win. Axe naturally loves those kinds of videos anyway, animals doing cute and/or silly things make him feel better. He sometimes feels a little bad if he watches a bulldog eat absolute shit going down stairs or something like that, but they seem to walk it off okay. Cross utilizes this as the most reliable means to get a smile out of you. He's pretty stoic and poker-faced most of the time himself, and sitting and watching silly, cute animal videos with you gets that rare smile and laugh that he absolutely adores. Him too, for what it's worth; he will also smile and laugh in such a quiet, sweet little moment. Baggs will indulge in them occasionally, but if he's busy and hears the laughter, he finds a good stopping point to come sit for a moment and watch with you. It's so nice to hear your laugh and see you genuinely happy. It's a moment he treasures because he knows the mask is up most of the time for one reason or another... but he gets to see you with the mask off and enjoy your company at the same time. Nightmare doesn't much care for sitting and watching with you, but he will casually observe if you're watching on your phone while he's doing something else, and almost always will move to somewhere that he can see your face. Even if he's not watching the videos, he's watching the genuine light in your eyes and the warmth on your cheeks and knows that he gets the privilege of seeing this. He's not likely to bring it up unless he's being especially sweet, in which case he'll tell you how adorable you look when your face lights up with joy (no matter how it might itch or sting on an emotional level)

[paintedvanilla]

Hi! Sorry if you’ve already answered this, but what inspired your takes on Jack’s extended family in your fics?

hi!! sorry it took me so long to answer this ask, i was going to wait to answer it until i finished my most recent fic, but then i posted that and i just. didn't have the energy. so!! hi!!

i don't really have a specific source of inspiration for my choices about the narrator's extended family. i've always enjoyed writing ensemble stuff. i think my decisions for the narrator's family dynamics were based on my own interpretations of his characterization and influenced by my own biases and probably other various subconscious trains of thought happening in my brain. but nevertheless here's a breakdown of each decision!!

his mother: the narrator was raised by a single mom from the age of six onward, that much is obvious from the source material. i mostly work off of the film, because i've watched it so many times its details are more readily available for me to recall. i get the sense that his mom is no nonsense but also a bit of a pushover when she doesn't feel like putting up a fight, which is often. she was not the most attentive but that's not entirely fair to say because she was a single mom. i think the narrator's family was quite poor growing up, especially once his dad left, and she was working to support him and his sister. i think she's relatively soft spoken and quite reserved.

his father: obviously for this one i had way more of a base to work with, just based on the way the narrator talks about his dad in the film and the book. he's an asshole. he doesn't really give a fuck about the narrator. i do believe the narrator and his sister were this man's first kids. he did not marry their mother. he's never married any of the women he gets involved with. i think he's a scumbag. the narrator is, actually, genuinely, his only son. all his other kids are girls, which i think plays a huge factor in when he skips town. it has to do both with when the woman he's involved with starts to become boring to him, and when the oldest daughter he's fathered from this particular woman starts to like. become conscious and develop a personality. The whole:

"Often father and daughter look down on mother (woman) together. They exchange meaningful glances when she misses a point. They agree that she is not bright as they are, cannot reason as they do. This collusion does not save the daughter from the mother’s fate."

the sister: i chose for the narrator to have a sister, particularly an older sister, because i examined his character and something about me just led me to the conclusion that he FEELS like a younger brother to an older sister. she's about two years older than him. she's really good at pretending to enjoy herself. where the narrator utilizes apathy as a coping mechanism for the Everything about being alive, his sister swings hard in the other direction and uses enthusiasm and toxic positivity. i have more i'd like to explore with her, i think she definitely has the capacity to be more insane, and i think the narrator would love to see that. they have a relationship where, as soon as she was old enough to talk endlessly about any given subject, she would use the narrator as an audience. especially when they were teenagers. she could talk at him for hours while he sat in silence and afterwards she'd be like, "ok good talk" and he'd just give her a thumbs up. he knows she'll be back, same time tomorrow. it doesn't bother him. and i think he does listen, sometimes, halfway, he retains some of the details. after he moved for his job, she would call him and continue to do the same thing, and he didn't mind because he doesn't have a lot else going on. he doesn't have any friends. no one else is calling him. she stopped doing it after she got married because now she had a husband to subject to this, but now that she's getting divorced i think the narrator will be hearing from her more. also, he walked her down the aisle at her wedding. and five minutes before he did this, he told her that if she didn't want to go through with it, he'd help her leave her fiance at the alter. she played it off like he was making a bad joke, but he was being 100% dead serious.

the brother-in-law: i made the decision for the brother in law to just be fucking. lame. because i thought it would be funny if the narrator's sister is married to just like. the pinnacle of everything the narrator never wants to be. like, the narrator is also lame, but at least the narrator is having good sex and is getting the shit beat out of him on the regular and doesn't actually believe in any of the mission statements of his company. the bil is like the polar opposite of tyler, and the narrator thinks no one should settle for less. he's always hated his bil, has a vague inclination that his sister deserves better, but is still consumed by apathy so has never really done anything about it.

the nephew: the nephew is probably the least developed out of everyone here, which is really ironic because my idea for his character is basically that. he has a lot of the same ambitions that the narrator and his sister originally had, but is putting more of the sister's energy into it. that is, until he gets to college and completely fucking spins out. he drops out after one semester and becomes addicted to smoking weed. he'd be a walking panic attack otherwise. i think he made himself so sick about what he wanted to do with his life he just gave up. now he works at a smoke shop and is almost always high.

the niece, aka danny: i have to thank @rabbitmotifs for really pushing me into developing this little menace. when i first wrote "the idolatry of suburbia" i wanted to keep everything really light and vague because i was not ready to come to terms with the fact that these are technically oc's. but holly really pushed me into evolving danny's personality until i was eventually brave enough to pick out a name for her and employ it. you can fit so much lore into this kid. danny thinks her uncles hung the fucking moon, tyler durden is her favorite person in the universe, even after he snapped at her in my most recent fic. danny definitely has more inclinations towards batshit insane behavior and she indulges them without really questioning them, so when she's with her uncles she doesn't feel ostracized for just being herself. she loves these men. and she's definitely got some gender things going on. if you see her emulating tyler's portrayals of masculinity, no you didn't (she'll get embarrassed).

and as an extra special bonus, tyler's people:

tyler's mom aka mable durden: listen i was really pondering my orb for this one and it just came to me like a fucking premonition. i disregard everything tyler says in the movie about "his" family, i think these are just projections of the narrator's relationships, so tyler is practically a blank slate. and the idea that tyler never knew his father at all, that he was abusive towards his mother so she left him before he was even born, that durden is his mother's maiden name?? oh that shit made me fucking bonkers. i didn't know how to handle it when the thought first occurred to me. tyler gets ALL his mannerisms from his mother, he siphoned like his whole personality off of her. she's The cigarette mom of all time. i think she could be very mean, but it's because she was over worked and poor and dead fucking tired all the time. she loved tyler a lot. she was the type who interpreted "physical affection with your kids" as "roughhousing" and this obviously influenced tyler in many many ways. she's the reason the way he shows love and affection is not through words but through actions and physical affection. she's also the reason he's addicted to nicotine. and i do believe she was a chronic complainer of her son being taller than her.

sam: ok i'll be totally completely honest i read "the parts of your hand grenade heart" by @grave-the-demon and i was BOMBARDED with the "tyler having a sister" spores. i added sam into my draft of "every man you've ever been" VERY late in the writing process. but i didn't want to just. steal the dynamic away from grace so i changed my answer a little bit so i wouldn't be accused of plagiarism. sam is like a sister to tyler. she's going to be his friend for his entire life, but he does not have such a connection to her that he can remain stationary for her. he'd only stay still in one spot for two people: his mother and the narrator. also, i need everyone to understand that sam is like. really hot. like she's so fucking strong and super fucking sexy in a Gay Woman type of way but the narrator has never been attracted to women a day in his life so he just doesn't perceive her as attractive so it never gets stated in the text. but please know this.

i'll be honest, i made the decision when writing "the idolatry of suburbia" to give the sister one boy and one girl because i didn't want the narrator to refer to anyone other than by their identifiers: my mom, my sister, my brother-in-law, my niece, my nephew. this continues in "every man you've ever been" whereas all the characters introduced in relation to tyler are given real names: mable durden, samantha hanes. and in "see me on the eight o'clock news" danny is only given a name when sam points out the presence of a relationship between her and tyler. sam mentions that danny seems more related to tyler than to the narrator, asks for her name, and it is immediately stated. prior, even in that fic, the narrator had only referred to her as "my niece" because i'm a creative writing student and i need to be playing 8D chess all the time.

anyway, that's my little spiel. thank you for coming to my ted talk.

[robotic-bakery]

i am going so crazyinsane right now so you know what fuck it.

thoughts on kira hayama? what do you like about him? what kind of stuff do you wish shogun steel did more with him? i wanna hear what other people think about him !

HI HIIII HELLOHELLO HAIIIIII

k so first & foremost, I wanna say sorry it took me a while to answer, I had things going on then I needed a place/way to articulate my thoughts beforehand. I wanted to format & order my thoughts in a particular way, so I'm going in order by:

design

character + as a blader

anything else

first of all, I'm a big fan of his design, specifically one of my favorite parts is how his pastels are primarily at the top of his design contrasting the darker colors of his clothes. with the exception of the area where his top shows his stomach, I find it to be a good way to utilize contrast to direct your eyes to his face/his upper body.

second, I know you've mentioned it talking about kirazyro, but I love how he's so similar to zyro yet those same characteristics make them different. For example, he’s passionate about being the strongest, he was chosen by a bey corporation to represent the future of the beyblade world, and he won’t let anything or anyone stand in the way of standing at the top of the beyblade world. However, unlike zyro, all of this is to assert his dominance over the beyblade world rather than a more genuine passion for the sport. Even then in the last episode, the way you can see his motivations morph into an intrinsic desire to establish himself as the strongest and defying the person who contributed a great amount materialistically (doji/merci giving him bahamoote) to assist in his prior want for dominance is cool!!

Another thing I’m a fan of in regards to Kira as a blader is how out of everyone else in the show, he’s the only one to my recollection that actually utilizes synchrome with two other people (golem behemoth & pegasus bahamoote). Granted it’s with two different beys, berserker behemoth and gladiator bahamoote, but the second closest aside mere suggestion is yoshio using behemoth’s warrior to make behemoth golem so I’m taking it. In fact, this point actually plays into how interesting his interactions are with those around him; how even with the people he’s closest to like yoshio, there’s still this air of distance that separates him which is pretty predominantly seen in his interactions with the other members of DNA/BTF.

Honestly, the more I think of what else they could’ve done with his character the more I’m honestly unsure about it. I guess the closest thing that comes to mind is getting the chance to incorporate his backstory into the anime so it didn’t just feel like a manga exclusive iykyim. Hopefully I managed to articulate everything to the best of my abilities in a way that’s understandable! I’m mostly worried about my point about his interactions with others, but I hope at least everything else makes some sense :D

[creatingnikki]

What 2020 has taught me

1. Those things that seem like content for sci fi or pure fiction are actually things that can happen. To the entire world. Like a pandemic. And to you. Like a seizure.

2. Everyone is sad. Everyone is struggling. In different ways and in different measures. Makes no one special. But you still get to feel sad for yourself and be compassionate towards others. But it's also okay to draw boundaries because you're everyone too. Remember, not special? You're sad and trying to deal with it too.

3. Every job you have will not add value to your life. It will not teach you new things or give you people you'll want to stay in touch with. Sometimes some jobs will only be a season of your life. Even if the season lasts for over a year. It's okay.

4. You know how you thought picking a college and picking a major and picking your first job and picking a specific industry were all the career decisions you had to make? Yeah, no. It's never a one time thing. You could have a job as a marketing strategist for two years and then want nothing to do with it. And then you'll have to make another decision and work towards it. So I'd like to call it moves. It's like chess. You always have to make a move. And it always has to be strategic, yes. But the truth is in your 20s it probably won't. Even if you try. And as long as you're trying, you'll be fine.

5. You may have different sorts of friends like the one you only talk to about kdrama with or the one you met when you went book shopping alone and the friendship is all about books really. That's normal. But irrespective of why and how you became friends with them, if you consider them a friend then there has to be this basic sense of care, respect and empathy for each other. I don't care what people want to say. If you're faced with the worst trauma of your life, the least your friends can do is check up on you regularly. On text. And if they don't even do that then guess what? They aren't friends. They are acquaintances. Social media and quick promises make everyone seem like your friend. But they are not. They are just nice people who will be nice to you for specific periods and then wander away like you are a speck of dust floating in their journey.

6. You speak a lot and write and you express yourself and you’re emotionally mature but oh my god. You still hold in so much. You’ve known that at a subconscious level and over the last year people - experts - have told you that. You have also realized that you make your pain and sadness about pettier things because dealing with them, admitting about them, sharing that with your friends, is easier. You do that so that you don’t have to deal with the real stuff. Because it’s so damn painful. And you don’t know how to do it. Yet. Acknowledging is the first step anyway right? I know you’re confused about how exactly to let go of all this pain and sadness and feel lighter, and you know that talking to people really isn’t the solution, but I also know you’re smart enough to figure it out. 

7. Talking about being smart...you know you’re different than others. Better. Special. Smarter. None of these are the right words. And you never voiced this out until this year because you knew it would make you come across as narcissistic. Some would say it’s because you’re an INFJ. But my mother once said that this may be the first time we are consciously living life but our souls are old and so our instinct and the things we know but can’t explain are because this isn’t the first time for our souls. The connections we feel with certain people, the reason we are so different from our siblings who grew up in the exact same environment with the exact same opportunities, our sense of right and wrong...it’s all because our souls learn and grow with each time and that’s why we are who we are. I think that’s probably how I can explain what I have always felt. That I am living in a different universe than everybody but I have to pretend to be in this one and dumb my emotions and thoughts down. Maybe that’s because my soul has lived through thousands of years while most around me are living their 100th life. Or maybe I’m just narcissistic, who knows?

8. You shift between talking in first person and second person but that’s because that’s how you think in your head and talk to yourself and live your life. You ask yourself things and you accuse yourself of things and you apologize to yourself and you comfort yourself. I think that seeps into your writing and the changing of the voices. 

9. You always genuinely thought that you’d not be afraid of dying. And then what happened this October proved you shockingly wrong. I know it’s not so much being afraid of dying but the unbearable pain of knowing what that would mean to your family. So you have to be more prudent and less reckless with your life and the choices you make. 

10. Regret is not something that plagued you but this year the realisation and pain of giving away your favourite books from your own personal collection to people you care about as a show of affection and them turning out to be ass holes or losers has hit you so hard. So, yes. No more of that shit. I really fucking want my copy of The Perks Of Being A Wallflower back. UGH. With the childhood picture of me inside it! 

11. Sleeping at 5 am in the morning stops being fun or romanticised when you realise just how much harm it does to your body and mind. Literally every single disease and disorder can be traced back to a shitty fucking sleep schedule. It’s not just the hours you sleep but also the quality of sleep and the time you sleep at. So yes sleeping for 8 hours is healthy but not if that 8 hours is from 5 am to 12 pm. ‘Not a morning person’ is just another construct of capitalism and you don’t realise how many industries profit from having you believe that and staying up late or all night. Entertainment. Food. Alcohol. Pharma. Biologically and naturally you are a bloody morning person. And you don’t need 3 cups of coffee to begin your day or your phone notifications to get you to open your eyes and brain to wake up. 

12. Sometimes you really have to stop taking people so seriously. I know the idea of treating people as casual friends or entertainment makes you want to fight that concept but you know what? Some people like Pineapple are ever only going to be good for that. No matter how much they ‘grow and change’. So keep them in the background for whenever you want some entertainment or drama. But please don’t clear up your busy schedule to meet them or send them gifts on their birthday. 

13. If you don’t have the fruit juice or green juice within half an hour of making it then you are losing out on its most optimum health benefits. Or when you remove the white stringy stuff from oranges. That’s where all the actual nutrients are.

14. I am privileged and so are most of the people I interact with. The global pandemic has been hell for a lot of people around the world. Health wise. Financially. Losing people they care about. But I was blessed enough to be safe at home and have a job that I could smoothly do from home and not have a pay cut or 4-hour long Zoom meetings. So honestly when my friends tell me 2020 has been bad I have to stop and ask them why? Yes, the crippling uncertainty and anxiety is not something that can be undermined. But most people I know had very great positive life-changing milestones this year like moving away to another country for college or taking their first solo trip or getting married. So I have to ask them. Because I am not going to agree that everybody’s 2020 and pandemic narrative is the same. 

15. Money gets spent really quickly. When I left my job earlier this year because of personal issues, I thought I had enough savings to last me a year. Full disclosure - I mean to last my personal expenses because I live with my parents. But it didn’t even last me 3 months. And so to use money wisely and buy things that provide utility than instant gratification is something to follow. Also buying one pair of really expensive but quality shoes is better than buying 5 pairs of affordable but low quality shoes that will have a very short life and force you to buy more. I know that higher price doesn’t always mean better quality but sometimes it does. And as an adult now I want to do the whole quality > quantity thing even with things and not just people. 

16. Everyone in their 20s went through a crisis of what they should do with their lives and their careers and it’s not unique to the 21st century and the challenges of today. Whether it was Vincent Van Gogh in the 19th century or Sylvia Plath in the 20th, every single person, as brilliant as them went through the torture of making these decisions and living with their consequences. You may think I picked wrong examples for they both killed themselves but you know what? They were the people who really want to live more than anyone. They knew what life meant. And maybe if mental health help was more accessible back then their lives would be longer and more peaceful. 

17. Telling people everything is overrated. You don’t have to talk about every single thing that’s on your mind or that’s going on in your life. The good and the bad and the mediocre. You have to be mindful about how much of yourself you’re giving away. 

18. Re-watch Suits when people at work feel intimidating because the confidence + negotiation tactics that they show can actually work irl cos at the end of the day no matter in what position you’re dealing with people who have emotions and fears and insecurities and desires. You understand how to leverage that nobody can get the better of you. 

19. You belong to yourself. No matter how much you love someone or how much they have done for you or how much you owe them - you belong to yourself. You can’t live your life for someone else. Everyone belongs to themselves first. No relationship, no promise, no circumstance should make you feel like you have to give up your life and make it all about them. If and when the time comes to die for them, go ahead. Take a bullet. Donate that kidney. Write them in your will. But live your life for yourself. And let them live theirs. 

20. Twenty three was a challenging year. When it started you claimed the age 23 sounds boring and insignificant. Guess it proved you wrong. It hurt so much now. But that only means you’ll look back on it later and see how it added so much wisdom and resilience to your being. It doesn’t mean that it makes all the bad things that happened to you okay. Or that you should be grateful to them. Fuck no. It means that you should be kinder to yourself because at the end of the day, your mind and body find it in themselves to deal with whatever is thrown their way. They have your back. It’s time you learn to sit straight. 

[googledocsdyke]

Do you have any thoughts/recommended texts for Cas analysis? I genuinely love the dean gender studies and I just wanna know what people might apply to Cas.

yes absolutely!! while dean studies is my first love i also deeply love cas analysis (casnalysis?) and wanna strive to do more of it. here’s some stuff off the top of my head:

1. gender, sexuality, heavenly embodiment

this is much more theological and less psychological than dean’s whole Deal because there’s so much fascinating stuff around how the angels in general experience express and conceptualise gender (@autisticandroids has a good post about angel gender & lily sunder has some regrets) but for cas in particular there’s this fascinating kind of collective fandom agreement (which i DO also agree with) that cas’ own gender kind of is gay man, that he actively chose gay manhood, but also that he’s kind of..... lacking the Insane Genderishness that dean exhibits at all times, even though he actively chose to engage in male gendering and became so comfortable housed Within Jimmy that he, as some post i saw the other day that i can’t find anymore said, “became his own body” when jimmy died. 

like on the one hand there’s an almost-canonical transness to the whole process but it also never feels fully written-into because 1) the supernatural writers for all their insanity are sometimes very boring and *most* of the time only feel interested in narratively expressing angels As Their Vessels anyways and just like leaving convenient spaces around these questions (boldest thing they ever did was hot girl cas which i WISH i had the range to unpack) 2) there’s a vague inevitabilist shrug to the whole thing since they obviously weren’t gonna recast misha collins (though they HAVE tried to get rid of him) and 3) something amorphous about cas’ entire..... personhood? makes him Empty Of Gender as a contrast to dean’s Full Of Gender (i believe it was @deanwinchestergender who said this) and like is it just the juxtaposition to dean/jensen’s whole insane Deal? or something else? 

like he actively chooses the terms of his own embodiment and yet narratively it feels like a shrug. and we’re all like “well obviously even though he’s a celestial being he was always a gay man” and like WHY. i love it idk idk much to think about! and yeah just in general the theological questions of possession and cas genuinely Becoming a man as he iterates himself consciously towards humanity it almost feels like. by doing the most boring things possible with his gender they made it interesting? idk if that makes sense.

2. discipline, free will, metanarratives

cas is like a tool (“i am not a hammer, as you say”) held in constant discipline and surveillance by the system that enmeshes him and it’s really, really fascinating to watch the way the angels hold each other to conformity. especially pre-god they kind of produce each other as foucauldian disciplinary subjects (which i posted about here) in perpetual visibility through angel radio, generating their own and each other’s conformity rather than being directly ruled through like a single centralised source of power. only the spectre of a god. and obviously cas’ whole thing is that he has ALWAYS disobeyed and the narrative affords him this psychological interiority never given to the foucauldian subject, an internal will and desire for freedom in a way that fits more with the liberal subject (super roughly and not with the same pro-capitalist implications but he has this internal drive for self-liberation. 

and that’s also where the metanarrative comes in ofc! i think it was @dykecas who said that cas is a real person written by people who hate him, and there’s this crack in the narrative (mirroring the crack in his chassis) where cas gets in, over and over, despite all the order imposed by the show’s authorfathergod. like we’ve all seen the analysis about how it was Never supposed to be this way they DID try to fire misha collins in 2012 and yet this gay man literally cannot be stopped! i think actually his appearance in scoobynatural is a neat little distillation of this — he drops into this animated world originally with a singular purpose (Save Sam And Dean) the same way he dropped into lazarus rising with a single 3-episode arc (Save Dean). huge hammer behaviour. his “utility” diminishes within the narrative (he finds that he can’t fly in the scooby doo universe) and so he is no longer a tool/means to an end that salvation moves Through. and in the process (and huge creds to @lesbianyuugi for this) he does something ENTIRELY unrelated to his original cas-as-tool aim, and learns, like, the meaning of laughter from shaggy and scooby. WHICH brings me onto the third point

3. love, queer kinship, family-making

HE’S GAY AND HE’S A DAD! i feel like a lot of tumblr throws around the term “found family” in a very flat and tropey way (which is fine it’s cute and fun no matter what!) but like . GOD there’s so much specific stuff going on here. like the way that cas (unintentionally) obliterates the midwestern white christian nuclear family (made incarnate in the novaks) which like could be uniformly portrayed as an act of deep malice and villainy but instead grows to serve as a surrogate (if imperfect/complex, but DEEPLY loving) father figure for the gay daughter who has now escaped that nuclear family/seen it destroyed depending on how you read it? like he remasters the entire concept of fatherhood and it’s a very interesting (if DEEPLY) unintentional subversion of the homewrecking non-nuclear gay trope. cas is so good because his character arc doesn’t say “look, gay people can be normal and have perfect settled families just like you” it says “gay people DON’T have normal settled families actually and they are full of love anyways! or Because of the abnormalcy itself!) 

to cite ziz lesbianyuugi again he DOES queer fatherhood in his parenting of jack particularly because it really is one of the ONLY parent-child relationships in the show that breaks the incessant cycle of abuse and control and cold indifference perpetuated by the authorfathergod (a cycle reified in 15x20 lol). like god’s treatment of cas and his siblings mirrors john’s treatment of sam and dean (particularly dean) mirrors victor’s treatment of krissy and her crew mirrors dean’s later treatment of jack. there is a CONSTANT reiteration of the story of authorfathergod (often a father tightly entwined in biological kinship) treating a child as a mechanism or a tool or a means to an end. and cas looks at ALL that he has suffered and all that he is ever known and chooses constantly to reject it with every piece of love he expresses for his child. and not to sound like the kind of academic people make fun of on twitter but there is an INHERENT queerness to that. gay love will pierce through [the veil of death/the thick silence of abuse/the mechanism of godly control/hegemonic american masculinity] and save the day

anyways here are some very haphazard recs on everything above for further reading:

angels in america (tony kushner)

histrionics of the pulpit: trans tonalities of religious enthusiasm

the public universal friend: religious enthusiasm in revolutionary america

discipline and punish (michel foucault)

friendship as a way of life (michel foucault)

the genesis of blame (recommended by @pietacastiel who has GREAT theology content in general

all about love (bell hooks)

the chapter “when hated characters talk back” in anti-fandom: dislike and hate in the digital age (is actually explicitly about cas)

also cannot recommend enough following the ppl i tagged above!! most of the unlinked stuff is available through http://libgen.li/ and bookshop is a good alternative to amazon if ur american and want physical copies

[piccolina-mina]

Our girl is thriving this season, but what the fuck is this Wyatt plot? I need your thinks about this one. I just knew you'd be six posts in on this by now. HAHAHAHAHAHAHA!

*sighs* For fk's sake, nonny. I don't even like talking about it because I get ranty.

What do you want me to say? Honestly, everything you can imagine I would feel about this, you're probably right. Because you know, I'm that b*tch always getting ranty about racism and stuff.

In short, I hate it. I think it's unnecessary, tone-deaf, random, pointless, lowkey offensive, and illogical. I legitimately find it triggering AF. And it doesn't make sense.

It's Unnecessary. There is a fraction of a chance that it will connect to something more significant, but even if that's the case, I'm confident that end result or connection could've taken place without this random reform racist Wyatt storyline. This series has struggled enough as it is properly utilizing all of its primary characters as well as providing them with decent screentime and arcs. It literally makes no sense to spend any of that time that could be used elsewhere on primary characters on a recurring guest star.

This isn't actually about Rosa, it's about Wyatt. Following up on the previous point, this specific arc caters to Wyatt. Revolves around Wyatt. Rosa is just a passive participant and vessel for this Wyatt storyline. So again, the arc itself is about a recurring character. At least when they did something similarly bringing back Cam to siphon time and arcs away from its main cast they found ways to implement it better and tied her to multiple main characters, so it wasn't a total waste.

The intended Wyatt/Rosa parallel is illogical. I know what they're intending to do with this storyline, drawing parallels between Rosa's experience coming back from the dead after ten years and trying to make sense of that and atone for things before and having this second chance to make things right and go down the right path and so forth and Wyatt losing his memory and his racist ways and having to reconcile with who he was to who he can be and all of that. I understand the concept they're trying to sell. It just doesn't work. Rosa's addiction is not equivalent to Wyatt's racism and violence. Her mental illness isn't either. It's dangerous to invite the comparasions with this storyline.

It's not successful redemption. True redemption is Wyatt knowing and remembering his actions and then trying to atone for them. It's not the convenience of amnesia wiping out his memory only giving him distance from his actions rather than really facing up to them. Because of the amnesia, to Wyatt, it's like he's hearing about another person. It's a cop out. He doesn't Actually have to do the work to redeem himself or atone or learn or grow. IF we're supposed to compare it to Rosa, she knew what she did and remembers and knows how she hurt her loved ones or whatever and she's actively trying to make amends for that as part of her program... a program that Wyatt isn't working or anything BTW.

They've contradicted themselves too much and are rewriting their own work and thus twisting everything up just to make this storyline work and it still doesn't. The timeline is all fkd up... what they established already all of it..The Longs were racist before Kate's death. Kate was racist. To suggest that a 10+ amnesiac blackout clean slates and erases all of Wyatt's racism is just wrong. As in it literally doesn't even make any sense. That is not how the amnesia works but they keep playing both sides of it trying to make it work. To sell us what they're claiming, he would have to have ALL of his memories wiped and have forgotten who he was completely.

Wyatt is behaving like he's shocked by racism in this town but they're also trying to argue that he was born into it. Wyatt was surrounded by racists and his friends come from racist families but he's acting like the very concept of him ever being ingratiated in it is some huge surprise. Wyatt looks affronted by things like Confederate flags. Wyatt being steeped in and surrounded by racism predates his amnesia period.

Kyle mentioned that line about Wyatt putting Whites Only on water fountains, and it sounded like a school prank. It also sounded like something Kyle was reminding Rosa of as if she was alive when that incident happened. Therefore, Wyatt was doing racist stuff before she died. Kyle would've been out of school by then so how else would he know that or why would he bother retaining it?

IF Wyatt and Rosa really were friends before (which holy retcon), then it makes no real sense that he would get psychopathically angry about his "friend" who does drugs getting into a car accident with his sister who does drugs. He would've mourned them both not jumped to severe racism and violence. But both he and Jasmine's family (who are MIA for all of this) did that... jumped to racism. So was Wyatt indoctrinated by his family or indoctrinated by message boards and shit? And if Wyatt and Rosa were friends than why was Kate such a racist bitch to Rosa?

They're backdrafting history JUST to make this storyline that we don't need with a character who isn't even a main one to work.

By not actually addressing that Wyatt has to unlearn racism and giving him an out through amnesia, there is the very realistic issue of that latent racism to come out at any given time. What happens when he's drunk? What happens when he's really angry at a POC?

Tying Wyatt's redemption with his clear affection for Rosa is again dangerous and irresponsible. I know we would all like to think that love is the way and through love it can heal racism, but that puts the responsibility on the disenfranchised person to be "lovable." Because if Wyatt WAS friends with Rosa once then that means the second Rosa did something unlovable she was just another *insert racist slur of choosing* right? It means that there's a possibility that if his feelings for Rosa dwindle or things go sideways in some way there's a chance that he could revert back to those racist ways. Loving Rosa(linda) and pinning all of his wanting to be better on her because of her makes his actively learning to be anti-racist conditional. Right now he's not doing this for him. He's doing it because of Rosa.

This entire storyline has placed the burden of forgiveness on Rosa, his victim. Without him ever having to actually make amends. It's this turn the other cheek BS that means there's nothing too big or harmful that can't result in forgiveness. It relies on Rosa and all that she represents to extend an inhumane level of mercy and grace to their tormentor and oppressor that was never once extended to them. It's such a consistent and problematic thing projected on disenfranchised parties that ONLY benefits the majority and makes them feel good. It's a narrative of meeting someone halfway when the playing field was uneven and the minorities are in actuality doing more work and making a longer trek. Halfway and meeting in the middle only works if both sides were even. They are not. It's the reaching across the aisle both sidesms when one side was clearly and actively more harmful than the other and than calling that peace and equity. It is not.

This storyline was meant to scintillate some viewers with this "what if" notion and teach others a meaningful lesson or be this poorly thought out gateway to exploring a complex storyline but it came at the expense of other demographics who actively have to deal with racist crap. And because of their problematic approach what is simply "just entertainment" to some who has the luxury of not having to think about it beyond that, is just gross and insanely triggering and uncomfortable to others. The others who deal with the reality of the subject at hand.

They wrote themselves into a corner with Wyatt so trying to dig him out of that no matter the cost or logic is absurd. This storyline could've worked better if Wyatt's racism didn't also include conscious, constant, extreme violence. But they spent all of this time making Wyatt the face of violent racism and now are trying to redeem him with no real effort. He wasn't just using slurs or making microaggressions. He wasn't some insensitive or aloof white person. He is a murderer. He has killed people. He technically murdered Liz in cold-blood. He knew she was in the crashdown when he shot up the place. The lights were still on. He beat up Arturo so badly he nearly killed him well after his friends even stopped. He attacked and intended to kill Rosa. And his handiwork was a constant thing, enough for Jenna to comment on it. And now we're supposed to ignore all of that because he has amnesia and has puppy dog eyes?

The fact that we can entertain (and for some succeed) Wyatt in all of his hot white dudeness' redemption after everything he has done slips into the inherent racism of society in the first place and is enraging. Because systemically and culturally and inherently society will bend over backwards to find a way to absolve a hot white guy no matter his actions. Flint and Noah couldn't get this type of redemption... So their intended storyline about evolving from racism STILL plays into the racist structures set up in society.

And because some people like it, there's this slippery territory of NO everyone who genuinely enjoys this aren't racist for enjoying it. But yes, this entire storyline and how it is playing out is at the very least racially insensitive.

In order for this storyline to work they would actually have to show Wyatt doing the work. They don't have enough time to dedicate to such a delicate storyline. It's been a C and D filler storyline with 45 second to a minute scenes. That's not enough time to explore this properly. We would've needed to see Wyatt returning home from the hospital. We would've needed to see Wyatt with his friends and it not feeling right and his discomfort. We would've needed to see Wyatt going through his yearbook and googling himself and the horror and disgust he felt. We would need to see this through his eyes. But we didn't have the time for that and we wouldn't have anyway because he's not a main character. We only get Wyatt through Rosa's eyes and they haven't even dedicated enough time to that for it to work. Rosa isn't conflicted at all. She didn't struggle to forgive him. She was reduced to a school girl with a crush and an insane level of grace and they just threw that at us with no buildup whatsoever. I don't know where Rosa's head is and how she got to this to place. Not really. And the only thing working about this is the chemistry between two actors who are allegedly dating so of course there's chemistry.

It literally feels like another instance of a favorite actor being shoehorned into a storyline just for the hell of it. Just because they didn't want to let Dylan go or something. Just to give him something else to do.

[the-hidden-writer]

And Into The Fire

Chapter 12: A Definitely-Not-Plan

Summary: Months after the Mitchells saved the world, Linda gets a phone call asking if she’s seen two defective Pal MAX bots. Powerful people are after Eric and Deborabot 5000, and it’s up to the Mitchells to protect them.

Taglist: @squidsushi , @astro-aye , @shitmyex, @sharks-are-friendly, @snakeguy99

Check reblogs for AO3 link!

A Definitely-Not-Plan

One of the worst parts of being a parent, Linda thought, was having to wake up your children when they were sound asleep with peace written all over their faces. As their original plan of spending the night at the campsite was discarded without warning, Aaron fell asleep very quickly into their high-speed journey to Silicon Valley. Even Rick (who had been adamant that he would stay awake) began to snore after an hour or so.

She hadn’t minded. She would much rather her boys be well-rested for whatever they were about to face.

While driving, it felt like the journey was taking forever. But now that they’d arrived it felt like it had taken no time at all. They weren’t too far from the massive Pal Labs facility that looked very menacing as it loomed in the near-distance.

They’d arrived at their destination. And she had no idea where to go from here. Unless they simply charged into the building…

Doing her best to brush all illegal-sounding thoughts from her mind, Linda continued to gently shove her son awake.

“Aaron, sweetie, we’re here.”

“Mmm not yet, Mom...”

She briefly considered leaving Aaron in the car to let him sleep. Which, although it may keep him safe, could also result in him being in a whole different danger that was out of their control. She’d rather keep him close.

“Rise and shine, son.” Rick said, purposefully speaking in a louder tone which caused Aaron to wince and squeeze his eyelids shut tighter. “We need to rescue the bots.”

That caused Aaron to stir a little. “But it’s still dark.”

It was true, dawn was only just beginning to break and soon they would lose the cover of darkness. But at least there was a chance, as small as it may be, that fewer people would be there due to it being the middle of the night.

However, Linda doubted it. Especially if both of the bots were inside.

“So what’s the plan, Lin?” Rick asked her once Aaron began to sleepily climb out of the car.

Shoot. She’d promised to have thought up a plan by the time they’d arrived in exchange for letting her drive the car. And in her defence she had tried, but without knowing what the situation was going to be like she couldn’t think of anything apart from…

“We storm in there and demand that they give them back.”

The hesitance on Rick’s face was totally justified. “Uhh, are you sure? No offence but that sounds like a pretty dumb plan, dear.”

“Got any better ideas?” She quipped back. And although it sounded sarcastic, the question was completely genuine.

“Why don’t you just pay for the bots?” Aaron supplied, shutting the car door in a way that sounded far too loud for the serenity of the night around them. “Just buy them off Pal Labs then they’ll leave us alone.”

“Aar, that’s a great idea!” Rick exclaimed in a hushed voice. “We may be completely broke afterwards, but it is a good idea.”

“Yeah…”

Linda had to admit that the idea was smart and even had a better chance of working than her plan. But there was something about the notion of having to buy her sons back that didn’t sit well with her. To treat them as collectable items, as inhuman as they were, went against all of her instincts.

(Her… sons? The bots. Her boys. Her… sons.)

“Let’s keep that as a last resort.”

“Yeah, that’s a better idea.” Rick agreed. “I’d like to save my money if possible, 'specially since I’m not working at the moment.”

She smiled at her small victory. Now came the hard part. “So… shall we go?”

“What, we just drive right up to them and walk in?” Rick frowned. “We really don’t have a better plan?”

“We never have a plan.” Aaron added from below them. “But we always win in the end, don’t we?”

Linda bit back a comment about how last time was nothing but pure luck. She also admired her son’s optimism and tried to let some of it sink in to calm her own nerves.

“You’re right.” She said, bending down to kiss Aaron’s forehead. “We’ll get them back.”

Even if it meant having to tear the whole building to the ground.

~-.-~

“I don’t understand.” Muttered Katie. “So you were trying to decommission them?”

“That’s what I thought they were trying to do.” Mark replied. “That’s what I was trying to do, but apparently that wasn’t the plan. They want one disassembled and one online for some reason.”

With Agent Ward busy elsewhere and due to the lack of agents/employees at this time of night, nobody was able to supervise the two as they sat in the locked office. It gave them an ample opportunity to have a private chat.

And it also allowed Katie to gather as much information about what the hell was going on here.

“Right… but why?”

Mark shrugged. “Beats me. Unless they want to build their own robot army-”

He paused abruptly- a look of horror growing on his face.

“Oh my god they wanna build a robot army.”

Katie wasn’t even surprised. Of course that was what they were planning, what else could it be? The robots had already proved their worth at being able to take over the world, just imagine what they would be able to do if they were utilized by the government of any country, let alone the United States.

“...Are you sure you can put him back together?” She asked quietly.

Mark Bowman blinked. “What?”

“Eri- uh, that Pal MAX bot in the lab.”

He furrowed his brows. “I’m pretty sure. I specifically told them not to break anything when taking it apart, whether they listened or not is out of my hands.”

“Right.”

They fell into silence for a few moments. Mark was sitting in his wheelie chair while Katie sat on the computer desk at the side of the room. It was surprisingly comfortable.

It was Mark that was the first to speak up again.

“You called it Eric.”

Katie hung her head. It sounded a lot more like an accusation than a comment. “Yeah… I did.”

“Why?” Mark Bowman continued. “Because the Evil Warden can’t be right, you and your family aren’t actually-”

“Working with them?” Katie finished. “I mean yeah, if adopting them counts.”

She knew it was probably a bad idea to tell him the truth, but she really needed an ally in this place, and since Mark Bowman seemed to be a prisoner in his own facility he was the best (and only) person for the job.

It took a few seconds for the implications to sink in.

“...You what? Adopted them?”

“Yeah.” Said Katie nonchalantly. “They helped us save the world, actually. A dinosaur fell on them and they turned defective and told us how to stop Pal. We literally couldn't have done it without them.”

The expression on Mark Bowman’s face was priceless.

“It's a long story. And then when all the other robots switched off, they had nowhere to go so we took them in.”

Mark looked stunned. “So you use them like normal? Get them to cook and clean and stuff?”

“God, no!” Katie cried. “They’re a part of the family! They’re practically children and they have their own personalities and everything. They gave themselves the names ‘Eric’ and ‘Deborahbot 5000’.”

“...And ‘Eric’ is chopped up on a table in Lab 5.”

Katie sighed, the memory of what she’d seen flashing through her mind. “Yeah. That’s it.”

“Well that makes a lot more sense.” Said Mark. “I still think turning them off is the best option though. They may seem nice, but they’re dangerous-”

“No they’re not! They’re absolutely harmless! Deborahbot practically started crying when he stood on a beetle by accident!”

Mark scoffed, but at least he didn’t argue.

“We all love them.” She added. “We just want them back. And I’m pretty sure the whole world is safer if they’re with my family instead of the CIA.”

Mark seemed to contemplate this for a few moments. “I mean…”

All of a sudden, the computer behind Katie began to flash red, causing her to jump straight off and Mark to leap onto his feet.

“What’s that?!” Questioned Katie, pointing at the screen that was flashing the words: CODE #15.

“That’s the alarm.” Said Mark worriedly, rushing to the computer. “Someone’s broken in.”

Comments make my day! :)

[thejustmaiden]

Heyo, fellow Inuyasha fans! Happy Friday! This particular blog will serve as a collection of random thoughts I’ve been mulling over lately. Hope you’ll consider giving it a read. By the way, it’ll specifically pertain to the Sessrin ship. If that’s not something that is of interest to you, then no need to read any further. Whatever happens, I wanted to get this out before the sequel. Alrighty, let’s go! 

I’m not sure many of us realize just how much fiction sparks public dialogue and shapes culture. There have been countless studies and research done to prove it, therefore this really isn’t up for debate. What the real question here should be is have we taken the time to fully contemplate and assess just how much fictional experiences are able to change or influence our perspective on real, everyday life? The visual arts are just one of many evolutionary adaptations that serve to give us more insight into one another’s mind. If our outlook on fiction contrasts with said insight, then perhaps some re-evaluating is in order.  

Powerful works of literature such as 1984 and the beloved Harry Potter series are just two examples. George Orwell’s book contributed strongly to how readers viewed government and politics during that time, and to this day it’s a book that resonates with many. As much as Harry Potter is cherished all across the world, there are religious and academic institutions that condemn it or have even gone so far as to ban it. I may not agree with the extreme measures taken, but it’s fascinating nonetheless to witness the extent to which fiction can move and mobilize people for a cause.

The takeaway is that indicating fiction doesn’t have the power to create change in our everyday lives is misleading to say the least. So how exactly then can fictional stories that are, after all, completely made up affect society in such profound ways? It all lies in the power of the psychology of fiction. According to cognitive psychologist and novelist, Keith Oatley, who’s been researching the psychological effects of fiction for over a decade, he states that engaging with stories about other people can improve empathy and theory of mind. When we identify with these characters’ struggles, we begin to share their frustration for societal problems that plague them. These types of stories tap into our emotions more so than- believe it or not- nonfiction, and thus their effects inspire us and even have the ability to alter our worldviews. 

I’ll be returning to that specific topic a bit later, but moving on for now!

It’s safe to say that I speak on behalf of the majority of antis. That being said, I first want to add that we are aware that sessrin shippers claim to agree that there was nothing inherently romantic that took place between Rin and Sesshomaru during their travels together. The thing is we have trouble believing you guys when you time and time again provide contradictory statements to defend your stance.

Voicing things like, “all signs point to Rin” and “it’s been foreshadowed” sends the exact opposite message of what you supposedly stand for and, if anything, confirms that you’ve had romance on your mind long before it would’ve been acceptable to come out with openly. You can’t just go along with what we say when it’s convenient to your argument and then back it up later with “who else but Rin.” How can the relationship you’re imagining be so obvious if they didn’t hint at it for the whole duration of the original series like we agreed upon? Elaborate on how we could’ve possibly come to such wildly different conclusions when we started AND left off with the same views for and throughout the series. 

On top of that, making the excuse that we don’t speak for adult!Rin and that she has the right to make her own decisions once she’s old enough is a weak defense. Firstly, because we haven’t even met her. Secondly, because it’s unfair of you to assert that you know what’s best for Rin and then say we’re not allowed to just because it doesn’t align with your beliefs. I get that you feel protective over her character, but do recall that this adult version of her none of us have actually met yet. We have no idea what kind of woman she’s become, what her dreams or aspirations may be, and whether she’s married or even wants to be. I’m not against the idea of her falling in love, I just don’t think it’ll be with Sesshomaru. I guess I’m also a fan of the idea of her following in Kaede’s footsteps, because if anyone can grow up to be an independent, trusted, and wise leader of the community like her it’s Rin.

To make matters worse, way too many of you continue to celebrate the drama cd and profess that it was sweet that Sesshomaru basically promised he’d wait for Rin all while somehow ignoring the glaring grooming implications. Why do you only see what you want to see and fail to acknowledge that actual child grooming scenarios do in fact play out like this in real life? A high percentage of people who have been victims of grooming can attest to this. If Sessrin does go canon, all the sequel succeeded in doing to avoid the direct correlation with grooming was skip over the more questionable and dodgy portions of it. Take out the time jump, however, and you no longer have a loophole to cover up the scary unmistakable truth, which is that Sessrin and grooming are essentially one in the same.

No one case is identical to another so please don’t come to me with your “but how is it grooming if Sesshomaru didn’t manipulate Rin” refutes. Nobody knows what the hell went on during those years between The Final Act and this upcoming sequel. Based on everything exhibited so far- that is if we decide to recognize the drama cd like so many of you choose to do- Sessrin’s dynamic is eerily reminiscent of real life child grooming. Why else do you think a lot of us fans have a huge problem with it? It’s triggering for a reason. 

Let’s be honest, Sesshomaru’s supposed love confession could’ve just been the first of many gestures like it. Who really knows, right? According to you shippers, a major shift in their relationship took place sometime during this critical period none of us got to watch unfold. I’m sure you all have explored the various ways this would’ve gone down in fan fiction and through other creative means of expression. Not to spoil the fun, but all I can’t help but wonder about is just how many of those supposed “cute moments” would’ve been as creepy and cringey as that proposal. Hundreds of thousands (possibly millions?!) of fans would undoubtedly agree with me, too. It seems to me this ain’t due to a mere difference of opinion. Taste is one thing, ethics a whole other. 

By the way, in case you didn’t know, groomers don’t necessarily need to plan out every single move in order for their behavior to constitute as grooming. What we should be paying attention to instead is the fact that Sesshomaru made a conscious decision to act on his own selfish desire for a young girl who couldn’t have possibly known in that moment the magnitude of what he was asking of her. Why is it that a vulnerable Rin is put in a position that forces her to be the one responsible for making such a big, life-changing decision for the both of them? Yes, Sesshomaru gave her the choice and, yes, she doesn’t have to make it till later, but why on Earth is he coming to her with this well before a child her age is ready and mature enough to handle it? Even if his intentions are good (broadly speaking of course), his what you shippers probably call “innocent acts” are incidentally coercing Rin into reciprocating his feelings. Whether he planned for that or not, he’s at fault. Period. 

That’s one way the power imbalance works. A child wants nothing more than to please the adult they look up to and adore, because they’re impressionable like that. Maybe Rin processes this like she’ll want whatever he wants, so that’s what she trains herself to believe- either right then and there or over time. Plus, if you really think about it, why wouldn’t she trust him if in her eyes he’s been nothing but good to her and that’s all she’s ever really known? (Psst! Charm is integral to the manipulative nature of grooming so it’s deceiving AKA manipulation can come off as praise or flattery.) Bottom line is that Rin is too young to have to think about this kind of deep stuff at all, and Sesshomaru shouldn’t have taken advantage of the power he had/has over her to influence a decision she was by no means prepared to hear about much less decide on. Your headcanons seem to imply that she’ll eventually have to choose though, and Idk about you but I rather not push my own fantasy agenda onto a underage girl regardless of how much I want it. Idc if she’s fictional, it wouldn’t feel right so why would I want to see that? My principals couldn’t ever allow for it.   

Even if it wasn’t an official proposal, per se, it’s still disturbing to me that so many of you find joy in the thought of a grown adult male essentially waiting for a young girl HE KNEW to become old enough before pursuing her. I know this drama cd ain’t technically canon, y'all, but since this is literally the only source we have that may foreshadow a potential Sessrin to come, and it’s referenced a lot, I figured it still should be called out for exactly what it is- Grooming: 101!!!!

Just as I demonstrated above, fiction has the ability to make even the most inappropriate and uncomfortable situations be viewed in a favorable light when you put the right spin on it. *cough* Lolicon culture, need I say more? *cough* Despite what you may believe, the strategies fiction utilizes to explain themes/concepts can genuinely lead to how we perceive them, and ultimately to how we come to make sense of a similar event presented to us in real life. Especially if we have no prior experience with any of it and have nothing to compare something to, these perceptions can be dangerous yet still persuasive to certain fans- young ones in particular. The more narrative consistency across stories and different mediums, the more likely they’ll influence social beliefs. Minors don’t possess the same capacity as adults to think critically about the content they consume, and if we aren’t more careful about what we put out there then all of us will continue to face serious repercussions.

This is precisely why it’s crucial we persist in our fight against the rabid phenomenon of glorifying young girls in every sexual context imaginable. Just look at what something as seemingly harmless as fiction has the power to do. The scope of fiction is broad and far-reaching, and it’s about time we stop denying that fact and actually do something about it if we have the means to.

The truth of the matter is that we’re in desperate need of proper education and training programs on this issue in our communities. Families need to ensure their children have access to the necessary resources, but it isn’t just on them. ALL of us gotta do our part and ALL of us should be up for the task. It takes a village, right? If we do not properly discuss and address child sexual abuse (CSA) with our children and in public forums, including the internet, then we’re ultimately accepting incidents of CSA should they arise. Consequently, that also translates to indirectly accepting that the predators among us stay untreated and/or unpunished. That’s how the generational and societal aspect of the abuse can continue, and we must do everything in our power to secure our children’s future. Yes, even when it comes to fiction.

If you still somehow don’t think the Sessrin pairing has anything to do with grooming, allow me to break this down for you one more time:

1. If some of your fellow sessrin shippers say that a relationship like this in real life is harmful, then that should be pretty telling in and of itself.

2. Piggybacking off #1: if your only defense to that is “well it’s just fiction,” then you should ask yourself why you can’t ever come up with better reasons. Same goes for history and culture, so please stop using those to justify this relationship. None of the above can or should be applied since it’s already been established that fiction pervades our lives and vice versa.

3. If fellow shippers who are victims of grooming say they are drawn to Sessrin because it allows them in a way to “take back control” from their abuser so that they can better cope with past traumas, then they’re inadvertently admitting that Sessrin does possess qualities associated with the past child sexual abuse they underwent. AKA Sessrin is relatable for its abusive dynamic.

I have to ask by the way, but why do you get so offended when we don’t support your ship anyway? Is it because we interpret it to be controversial and you don’t like your ship getting a bad rap? Is it because it would be insulting to admit that antis actually have a point in it being problematic and you rather double down instead? Or is it because you’re projecting yourself onto Rin and prefer to not go into detail about why that is? Maybe it’s too personal, or maybe it’s because deep down you’re ashamed. Of course that doesn’t mean you’re bad people, but suppressing these kind of negative emotions can’t be healthy for anyone. A little awareness and self-reflection on your part can benefit not just you but all of us in the long run. Cognitive dissonance can suck, but it’s also part of being human. 

I recently came across a comment I’d like to share with you. Unfortunately, this is not the first time nor will it be the last I see the likes of it. Anyway, in it a fan stated how embarrassing it must be being an Anti in this fandom when an episode like “Forever with Lord Sesshomaru” exists. Guys, this shipper and all those who liked their post are showing their true colors. Perpetuating and/or anticipating these sexualized images of young girls is a grave issue in both our society and media alike. I think we can all agree on that, or at least I hope so. It’s remarks like these that prove we still got a long way to go in terms of progress, and if we ever hope to effectively reverse some of our backwards way of thinking. So serious question for ya in regard to this: Why is it too much to ask that grooming be portrayed for what it is? Grooming. To clarify, grooming is bad and needs to be painted in a bad light. It’s as simple as that. If only we could all acknowledge it for what it is, we wouldn’t be in this predicament. 

Historical accuracy and cultural differences aside, it appears the crux of the matter between Sessrin shippers and Antis is our acceptance and/or denial of fiction’s influence on real life. If we can’t agree on this, then we’ll never agree on anything else. As mentioned earlier, there is more than enough evidence to support the idea that fiction impacts our lives in extraordinary ways. I, for one, believe in the transformative power of stories. I think they do more for us than many of us give them credit for and/or are inclined to admit. 

This is partially why I believe that the majority of sessrin folk are missing the point most of the time. All they do is focus on insignificant and irrelevant information that accomplishes nothing but more gaslighting and strawmanning. Whether it be an intentional or unconscious decision, whatever we argue goes right over their head. All they do is throw around deflections and antagonizing remarks that serve no real purpose other than to make Antis out to be the unreasonable and irrational ones. Making connections between our own lives and our stories is a completely natural and normal occurrence. If those particular shippers insist on denying just how interconnected real life and fiction both are, what that tells me is they’re either out of touch with reality or deliberately choose to be.

Just to be clear, I am of the opinion that most if not all antis aren’t real life predators. If they say they aren’t, I honestly take their word for it. Speaking to Sessrin shipper directly: We know it’s not Sesshomaru you want to be but Rin. No, we’re not calling you pedophiles or groomers. None of us think you are using a fictional ship to attract underage fans to be the Rin in your life or anything of the sort. We are well aware that many of you are self-inserting yourself as Rin, so please don’t feel the need to tell us yourself because that would be stating the obvious.

I learned from a few of you since this sequel was announced that the Sessrin relationship isn’t just a ship but an opportunity for you to confront the person who used and abused you. So there’s two issues with this I’d like to raise. (Sorry if I’m repeating myself, but it’s urgent I stress this again!) This is what I have to say:

If fiction does not affect real life or have the ability to normalize anything as you claim to believe, then why does “fixing” what happened to you via your preferred choice of coping associated with these two characters in the first place? Why bring your past abuse into this at all if at the end of the day it’s “just fiction” and nothing more to you but a source of entertainment?

By confessing that you use Sessrin to cope with your past trauma, you therein reveal that Sessrin does in fact resemble an adult-child relationship with a grooming dynamic. So why then would you want other fans to be exposed to a pairing that brings to mind the very abuse you endured? We’re supposed to stop this toxic cycle- NOT find more ways to manifest and relive it, much less subject other fans to it. 

You may think that Sessrin doesn’t fit the textbook definition of what child grooming is, but that’s not to say it doesn’t embody it or that it doesn’t at the very least have traces of it that stand out. 

“Antis are miserable people who don’t know how to enjoy a good story. It’s just fiction, stop ruining it for other fans!”

Well, no, it’s not just fiction or just a story. Some of you evidently went and proved that yourself, and without my help, by revealing how you relate Sessrin to your own life and apply it to cope with past abuse. Past abuse or not, as far as I can tell we’re all equally invested in these characters. That speaks volumes and just goes to show that fiction touches our lives in long-lasting ways.

I have something I want to say concerning some of who believe that it’s inconsiderate of antis who have been victims of grooming or another form of child abuse to tell other victims who ship Sessrin how they should cope with their trauma. Now as much as I respect the various means victims discover to deal with their painful pasts, there’s always an appropriate time and a place for these things to occur. We must seek out better ways to safely cope with the abuse we lived through (if any) without running the risk of hurting and endangering others. 

There are plenty of fans in other fandoms who don’t try to defend their ships going canon, because they’re able to recognize an unhealthy or toxic pairing when they see one and won’t try to justify it. A Sessrin romance simply does not belong on a show geared towards teens, and I really don’t need to go into detail about why we shouldn’t support it, at least canon-wise. Shipping Sessrin is your right, but if you don’t keep it to yourself and your corner of the fandom then you really shouldn’t be surprised by the opposition. All we ask is you respect that their specific dynamic falls under the category of child grooming (or very close) and should be treated as such in public. The world of fiction may be wider than the world we live in, but that doesn’t always mean “anything goes.” In the creative spaces our minds occupy we must still adhere to the same fundamental and moral guidelines we live by in life. There’s nothing wrong with exploring new terrains and experimenting with ideas, but we must also remember that our stories are all about communicating and connecting with people. So let’s please be more mindful of the sort of messages they’re sending. 

Besides, this isn’t only about you and what makes you feel safe, it’s about all of us. I don’t know how much more I can stress that really. How can thoughts endanger our children, you ask? Well, it’s not like we’re suggesting that our thoughts can jump out of our tvs, materialize themselves, and place kids under mind control. The forces behind fiction are a lot more complex and nuanced than a “monkey see, monkey do” approach, so don’t waste any more time trying to  describe that to us. You’re taking this argument in the wrong direction. 

Take the “violent video games breed killers” theory. I’m afraid you’re misconstruing what we’re saying and then taking it quite too literally. Please stop twisting our words, because nobody on our side is saying that just because you play violent video games that you’ll become a violent person. The Sessrin equivalent of that would be if you ship them then you must be a pedophile or turning into one. *sigh* I know you guys are feeling attacked, but I’m afraid your defensive nature is keeping you from thinking straight. Clearly, there are always exceptions (I’d recommend reading up on the Slender Man case), but Antis aren’t saying you’re one of them.

You see, it’s not so much about the content as it is the notion of the content. Kids and teens who are playing these video games have been informed that killing is wrong, because they grew up learning that early on like the rest of us. No sane person would advocate for violence and nonsensical killing in real life. Since they fully understand the severity of the consequences of killing a person in real life, they are able make a clear distinction between the two. When it comes to killing there is hardly any ambiguity. Sadly, that is far from the truth when it comes to sexualizing girls. It should immediately be perceived as wrong leaving no room for interpretation, and yet here we are still putting up with these inaccurate and demeaning female representations.

Most children who have been groomed don’t realize it till years down the road. If they aren’t ever taught the telltale signs to properly labeling grooming situations, how do you expect them to make sense of and relate to a fictional version? Let’s think of about it from a child’s perspective. Yes, this includes teens who rely pretty heavily on adult guidance and the content we put out there for them. Put yourself in their shoes for a moment and picture that you’ve never had child grooming explained to you (because that’s just the reality for so many unfortunately). Wouldn’t you say it’s possible for them to deduce that what they see on their screens is how they come to discern something in real life, especially if they have little to no experience with it? Perceived realism is plausible, y'all.

What it comes down to in the end is that the ideas and emotions we cultivate behind these stories leave an impression on others. Impressions are capable of influencing the way we see the world, which in turn affects us and beyond just our imagination. The way I look at it, stories contribute to how and why we normalize certain beliefs and trends. If fiction reflects real life like most of us tend to agree, then wouldn’t you say Sessrin is a (in)direct result of this world’s tendency to place young girls in overly sexual or romantic environments? Where do you think fiction draws its inspiration from? Sure, some of it originates from our imagination, but most of what drives us to create these stories is the real world and the people who live in it.

Fiction is meant to mirror reality, but it’s ridiculous to suggest that it’s only a one-way street. That fiction in no way, shape, or form influences our reality? Or that it only works the other way around? With all due respect, that’s simply not true. No productive discourse can be had if we choose to ignore the truth and don’t come together (at least halfway) to tackle the real issues at hand. 

Okay, I think I’ll leave it off there! Thanks so much for reading. I expect this to be my last blog on any topic regarding Inuyasha in the near future. As much as I’ve looked forward to answering all of your asks and writing all the blogs I have over these past almost 5 months, I think it’s best if I spend some time away for now. With the sequel fast approaching, I’m doing what I always do: hoping for the best and preparing for the worst. I’ve met some amazing people along the way, that’s for sure. And who knows, maybe you’ll see me active in the tags sooner than we think. Until then, it’s been an absolute pleasure! Enjoy the sequel, all of you. 💜

[hyrule-kingdom-updates]

Ooc: youve inspired me to start a project similar to this blog. Could you tell me a bit about your thought process coming up with the plot and stuff? And if you have any tips?

Woah! I’m really flattered I inspired you, best of luck with it and make sure to @ me when you make it I’ll be sure to check it out!

As for some tips, I have no idea if these are useful mind you as this is my first time doing this sort of thing but

I crafted the plot specifically around the idea that I would reveal it through a tumblr blog. Yes I would have some good shit posts, and some scenes that would work well for a fic, but the bottom line was that this was using the tumblr blog format, therefore I would have to craft everything with the weaknesses in mind, while also just turning up all the strengths to eleven

Moreover on that, I’m not sure exactly what aspects you’re deriving from here, but I also crafted the plot specifically around the fact that I cannot draw. So, I have to amp up the options I have for texts and fonts, which then birthed my character distinct font/color system. You might not notice it, but it’s a lot more immersive than just writing Asivus: Hello Arcadius: Hi there

On the final note of knowing my strengths and weaknesses, since I suck at drawing, I just decided to make that a part of Siv’s character. Siv, as you may notice, is the only character who is actually hand written, everyone else uses fonts. (There are actually two exceptions to this but, that’s a spoiler) I knew that viewer attention likes pictures, it’s going to be impossible to maintain attention on just text posts alone. So—shitty rat doodles. And if anyone calls me a bad artist, I can say that it’s just part of Siv’s character. Although, I suppose I blew that excuse out of the water just now

I do not consider this to be an ask blog. I know by all accounts it is, and honestly if I looked in my soul I’d probably find myself outright admitting it, but I find this to be a fanfic first and foremost. Remembering that it’s a fanfic is important for me, because I have to remember to stop and plan exactly what I’m answer and how I’m answering it, I can’t just jump at every ask and dump the whole character backstory, especially in the sense that I’m role playing every single one of these characters and that just wouldn’t be realistic

The Quill of Roost, believe it or not, was actually the very last thing I conceptualized about the plot. This is because originally, I was going to just have Asivus explain from the start that he ate a piece of Sheikah tech and could now hear things, and anyone in a radius around him would have the same gimmick of “answering” asks.

The reason why that was ultimately scrapped was because it grounded my story too much in the world of an “ask blog” with the idea being that the reason Siv answered questions was “just because” and then he would hang around the castle so Purah and Robbie could study him

So long story short for that part, my advice would be to ground your ask system in a way that makes sense and it original for your specific story/plot. It makes it more immersive, and also reminds you of the “rules” you have to follow, in order to keep yourself on track of actually telling the story, rather than just sitting around answering asks for an hour. Obviously that’s part of it, but don’t make it all of it

I’m not one to toot my own horn too much, but I’m pretty good at writing. Ironically, imagery is my favourite, but that’s pretty useless in the realm of this blog. On the plus side I’m pretty quick with dialogue, and I have spent a lot of time crafting the characters, both OCs and the Nintendo ones. There was an original concept for a third sibling in the Hartell family, and she would go on to have an important talk with Asivus during the rise of the Calamity (no spoilers!) but I scrapped her because I realized that even though I loved her, her role could be easily replaced by another more developed character. I think it works out for the best because this just allows me to give certain characters more “screentime” and love, though of course you should do what you want to for fun. Then again, the ultimate advice I have in that regard is to prioritize development of story and main characters first before you spend too much time with lovable side characters

Plot and character are not inherently seperate. Yes they have their differences, but if you make something that is “purely plot” or “purely character” you’re gonna have a bad time. A good plot is an external reflection of what changes your characters go through. And a good plot forces your characters to make decisions and actions, with thise decisions and actions showing their character traits. Plot is a constant waveform between characters reacting to something that happens to them, then giving their emotional reaction to the events, before make a choice that’s sparks the next events of the plot

A plotless blog looks like this: Hello I’m Asivus I don’t like my brother. He’s a perfect golden boy while I’m just the rotten scapegoat for when anything goes wrong. Oh no, I talked to Larc for one scene and now I realized that I’m just internalizing my insecurities and taking it out on him. Wait a moment where am I

A characterless blog looks like this: Hello I’m Asivus. Today I am going to go out for a stroll. Oh look it’s my brother he wants me to take a job at the castle, okay! Oh look, the Yiga are attacking, I am going to eat a quill now. Horray! The day is saved

Character provides the “reaction” part of story, the emotion and the stakes. Plot provides the “action” part of the story, the pacing and the movement. It’s easy to cling to character because it’s designed to be emotionally investing, but a good story utilizes both. Good plot provides good pacing for character. Just as an example: Siv going from reluctant employee to perilous hostage to active conspirator, is the plot device that paces the change from his apathy to genuine concern.

I don’t know if this is too broad or not or if you wanted me to be more specific to botw, but hopefully that was something if use. Feel absolutely free to ask more because I have many a thought about this and I would love the chance to rant again lol

Also please excuse any typos

[yourlocalmoron]

Questions and commments I have for Riverdale:

Are the characters ever going to seek counseling/therapy in their adulthood?

Will we ever get a specific mental diagnosis for Cheryl and Betty, or?? Because I feel like Betty might have DID or something else if not more, but I am no psychologist, so please - for the love of whomever you believe in - don’t take my word as gospel. With Cheryl, I’d best guess histrionic, but again, I am no expert...just speculations based off observations and the way they approach/respond/react to situations.

Are all of the students returning as teachers? I really thought they’d all have unique and different jobs (and I mean no offense by that, I just genuinely assumed) outside of teaching—way separate from teaching, actually, except maybe Jug when it comes to writing

Why did they make the Gargoyle King human? I know Roberto never got the green light to fully cross Riverdale over with Sabrina, but they still seemed to have more mentions and guest appearances from the former within CAOS than the other way around? I’m just sayin’... GK was kind of a weird villain, we all know that, but with all the genres that Riverdale plays around with, I think it would’ve been nice to have a supernatural/paranormal-themed season, no? Just me? Kk.. (s3 is my favorite so far, because it’s weird and wild - and I got high for most of its viewing lmao - so I’m biased)

⬆️ I forgot about the fact that Jonathan played as Kurtz in Riverdale and then later as Robin in Sabrina ... and Bret’s actor in CAOS’ last season (wasn’t Donna’s in there, too?) so I mildly stand corrected

I think it would’ve been cool to see Riverdale cover the Be More Chill musical. Idk, with all the peer pressure and casual bullying/taunting/judgement that goes on amongst them peers (examples: joining or leaving/getting kicked out of gangs, being blackmailed into lying in court with the threat of leaking a tape of your brother getting shot, being outed against your consent, getting guilted for still being in the closet, “manning” up after being abused or getting into a bear fight - typical high school stuff), I think it could’ve been an interesting spin. And the cyanide could’ve been replaced with the pill or sumn. But I am content with the musicals they’ve done so far, don’t get me wrong.

Toni’s parents...? ... We ever gonna meet ‘em, or...?

What happened to Hermosa and Charles? Chic, even, or Evelyn? I really don’t remember if they ever explicitly said where these characters went. But I definitely remembered what happened to Edgar 🚀👱🏻‍♂️🔫

Is Hiram gonna try to kill Archie again? I’m sorry but the thought of that kinda makes me laugh, like this dude has been an ongoing villain for three seasons straight. He gets under my skin, and I’d argue that is what can make for a good villain, beloved or not

Did Archie give up Vegas? ‘Cause I haven’t seen that good boy in a while...

Are we ever going to meet Heather?

I just still find it kinda interesting and unique from season 1 that we never once heard Jason speak a line of dialogue, and that everything we ever got to know about him was told through the Blossoms or other students.

The Midnight Club is still one of the best episodes thus far, IMO, and one of my favorites. Maybe I’m just a sucker for nostalgia I wasn’t even alive at the time it came out, but it’s still fun to rewatch.

Why aren’t LGBTQ+ and POC characters utilized more - rather than tossed aside or left to disappear without a trace of goodbye - when there’s actually been a good handful of them per season? (ex.: Cheryl, Kevin, Joaquin, Josie, Chuck, Valerie, Melody, Sierra, Toni, Reggie, Peaches N Cream [I saw her in the recent episode, just for a second, with her cute done-up braids and all], Fangs, Moose, please forgive me if I forgot anyone; it’s been a while) And why do the POC especially end up being villanized up against the white, cishet characters? Like the entire Lodge family, for example..

Toni said her and Jughead were still good friends (when they all - but the core four - still thought he was dead), but I feel like I haven’t seen them interact ‘til Jug denied her title to being the Serpent Queen?

Is Toni going to be pregnant this season, or did they hide Vanessa’s baby bump 🤰🏽 with any random object or article of baggy clothing found onset?

So Reggie and Jughead just never interact after season 3? Kinda sucks ‘cause that’s a duo I’ve been hoping to see more of, but I won’t hold my breath just yet since it sounded like the show’s ongoing til 2022, last time I saw. It would just be cool to see more guy friendships; heck, even Fangs and Reggie would be a sick duo. I just think Reggie getting along with the Serpents - after half a season or more of just not liking or trusting them at all - could be pretty dang cool.

Where did Mad Dog go? I’m sorry, they might’ve said in the last season, but I don’t remember. I miss him either way :(

I just find it funny how Jughead and Veronica never talk about the one kiss they had lmfao. I would’ve loved to see how that convo would’ve gone down, since it’s safe to assume that at least Jug remembered afterward —who never gave Betty a straight answer on whether or not he enjoyed it (/laughs in jeronica crumbs that I’m sure I’ll never get again/)

Who taught Cheryl to talk the way she does? I love her, but— 💀

S1 Alice was so wildly conservative, like...miss ma’am, you’re talking about witchcraft and demons over there like you’ve had your experiences (outside of G&G).. 👀 No but didn’t the Blossoms have a demon in their family bloodline, according to CAOS? ‘Cause that’d make this make much more sense to me..

How many *more* of the Riverdale girls’ fathers could possibly be serial killers or criminals to varying degrees?

Edit: I guess that’s it! I don’t want to ask too much more, just wanna see what this season will entail ~v~

[ashintheairlikesnow]

Searching for Answers: Alex and Jake the Shelter Guy

CW: Pet whump as a setting (Box Boy universe). References to dehumanization, brief vague reference to torture and noncon. If you’ve ever read @deluxewhump‘s excellent work (if you haven’t, you should be), you’ll see a very familiar face.

Jake takes naps between classes.

He spends three days a week at school taking 18 credit hours, in class from 8 in the morning until 10:30 at night. Then he heads to Nat’s place and does the overnight-house-worker thing, giving the rescues a sense of security knowing somebody familiar and safe is there if they have bad dreams or need help. The other four days a week he works with Natalie Yoder and Dr. Masood, learning about the rescues and how to help them.

It sounds exciting, being a college student secretly part of an underground liberation movement, but mostly it’s just exhausting.

He’s going to graduate with a degree in public health and a double-minor in communications and philosophy. It looks stupid, on the surface, he guesses, but he’s got a plan. Advocacy for runaways and human pets, working towards getting this country to a place to consider a full legal liberation and adjustment period for every person trapped in the system. 

Public health, so he can stand as an advocate with the degree to back up his hands-on experience and knowledge. Communications, to make him a better advocate by giving him the tools to understand how to utilize the media to change the way human pets are seen. Philosophy, to give him the skills to dig deeply into the thought processes around human pet ownership. 

The movement’s got more than 75 years of entrenched prejudice to undo. One day, he’s one hundred percent certain, pet ownership is going to be abolished as the fucking crime against humanity it really is. 

Jake wants to be a part of the group that finally makes it happen. 

The only problem is that he’s set himself an impossible schedule, and he’s so tired some days it’s all he can do to stay awake through his classes. He sleeps like four hours a night, and one day that’s going to catch up to him in a big way, but for now… he naps on benches and in courtyards, naps in the teacher’s lounge in the English department and behind a bunch of bookshelves in the philosophy hallway. 

It’s nice, except for when some asshole decides not to let him.

“Hey, uh, you’re… Jake Stanton, right?”

Jake groans, rubbing at his temple as he sits back and rests his back against the crumbling old brick wall of the oldest building on campus. He squints up at the fucking frat boy looking down at him. Not that Jake’s ever seen him before, but it’s easy to tell one of the fratbrats when you see them. 

He’s got the look - super clean-cut, blond hair and blue eyes, he’s even got a square jaw. Maybe not as musclebound as some of the other ones, but he’s still unmistakable. He looks kind of familiar, too, but that’s kind of the problem with frat guys. They mostly dress enough alike that it’s kind of hard to tell if he’s had a class with them or just had a class with one of their brothers. 

The guy looks nervous as hell. 

“Yeah, I’m Jake. Do I know you?”

“Uh, probably… prob’ly you do.” The frat guy shifts uneasily, one hand gripped tightly onto the backpack slung over one shoulder, a couple of textbooks under the other arm. “I’m Alex. We’re both minoring in, uh, philosophy, I think?”

“Oh, yeah.” Jake pushes back a yawn, just barely covering it with one hand. “Yeah, okay. I thought you looked familiar. What can I do for you? I’m sorry in advance if you wanted help with the essay thing, I haven’t even started on it, I’ve been busy with work.”

Nat’s newest charge had nonstop fucking nightmares from training, night after night. Jake had barely gotten a wink of sleep. 

“No, that’s okay, I, uh-... actually I’d be good to help you, if you need it. I finished mine, ran it by our-... my buddy last night.” Jake blinks, squinting again. He could swear Alex the Frat Guy is blushing. “Um. I just. I heard from, from some people that you’re… that you… know stuff.” Alex’s voice drops, into something just above a whisper. “About, uh, you know. Pets. Box Boys.”

 Jake stiffens, as his chest goes a little cold. “Who told you that?” He doesn’t talk about it much - being openly part of the pet lib movement isn’t exactly dangerous, but nobody talks pet liberation in polite company. 

 “Um. This girl I know. Meghan Jensen-” Alex pronounces the h, just a little, Meg-hen, and Jake can’t quite keep himself from smiling. “-she’s in a sorority… we kind of partner with sometimes… she said she heard from her twin sister Hannah who’s into some, like, punk underground lib shit… that you were, um. Someone I could talk to. For advice.”

Jake nods, slowly, giving himself time to process the words. He knows who Hannah Jensen is, he’s seen her at some of the group meetings and protests. He knows she has a twin who’s in a sorority, too. If this Alex guy is fucking with him, he did way too much research first. “Yeah, okay. Not out here, though, all right?”

Alex nods, expression going solemn and uncertain. “We can’t, like… get arrested just for talking about it, can we? I definitely can’t have that on my, like, record.”

Jake wants to laugh, but then he sees that the guy’s serious. Probably all he’s seen is the company propaganda shit about theft of property and consent and everything. It’s fake enough that no millenial or Gen Z person’s going to fall for it, but it’s still basically everywhere you look. Hard to make too many inroads against everyone’s assumptions about the system without someone who knows how to work it.

Hence - public health, communications, and philosophy.

“No, we won’t get arrested for talking. But someone might follow me home.” Jake makes his voice light and joking, even though it’s a genuine concern, and pushes himself to his feet. He’s actually a little taller than Alex, and more muscled-up, too.

“I just… need help. With, um. Someone I know.”

Jake blinks, thrown off-guard. “Someone specific?” Then it clicks, and he groans. “Shit. You’re with the frat, aren’t you? I’ve heard of you guys, you’ve got the guy going into the NFL. You’re one of those assholes that bought one-”

“Look, it seemed like… I didn’t really think about it, okay?” Alex’s face is even redder now, but he looks half-miserable with it, embarrassed and ashamed. Like Jake had caught him dealing drugs at an elementary school playground. “He’s… I just wanted to ask you some stuff about things I’ve noticed about him… and about Box Boys, and…”

“Why don’t you call the fucking company, Alex? They come with a number on their fucking brochure.” Jake’s voice goes dark, and he sees Alex bristle defensively. “Right there on the back, when you buy a human being. Customer service for your personal slave.”

“Hey, back the fuck off.” Alex’s eyes narrow, and he moves closer into Jake’s space, glaring at him. “Look, we went in on the whole thing together, and now I’ve gotten to know him, and I just-... I’m, um. I’m worried, and… I needed someone to talk to.”

Jake wants to push back again, to push harder. To ask Alex what the fuck he was thinking, being part of a group buying a human being. If he thought it’d be funny, or if he just cracked under peer pressure. But it won’t help, and instead he takes a deep breath, remembering Nat’s words. One step, one conversation, one person at a time. We can change the story, but you have to change minds and hearts, first. “... yeah, okay. Okay, I get it. Yeah. I can talk to you. I’m sorry, I just-”

“No, I get it,” Alex says, quickly, backing up again. “I get it. I probably look like a total rat-bastard to you.”

“No… not really. But if you’re, uh. Look, there’s a place I meet people sometimes to talk about this. I’ll buy you a drink and we’ll talk there.”

“Yeah, okay. That sounds cool.”

“What’s your major, anyway?” Jake asks, sliding his own backpack on, eyes scanning over the campus. He’s met so many rescues who should be walking around college like this, safe and easy and free. He’s met a few that he’s pretty sure were walking around places like this, before WRU picked them up. “I feel like you were really good at arguing in Intro to Philosophy. So… something public-speaking-focused, right?”

“Uh, Poli Sci,” Alex says, falling into step beside him as Jake makes his way down the dirt path made by tens of thousands of students over the course of decades simply choosing to ignore the paved sidewalks and make their own way.

“Yeah, that makes sense.”

“What? Why do you say that?”

“You look like a baby politician, and you’re good at arguing. What else would you be here for?” Alex snorts, hunching his shoulders a little defensively as his sneaker scrapes along the ground, and Jake sighs. “Sorry, man. I didn’t really mean that as an insult. I’m just tired as shit and everything’s been coming out the wrong way today. It really has not been my day.”

There’s a headache pounding behind his eyes, the fuzzy-headed exhaustion that could easily take him over. But he tells himself the rescues - and the Box Boys and Box Babes still in captivity - have it so much worse than he does.

That gives him a little more energy to keep walking.

“No, it’s okay. If I want to go into politics I should probably look like a politician, right?” Alex flashes him a hint of a smile, sidelong, and Jake relaxes. Okay, Alex the Frat Guy’s not as bad as he thought he’d be.

They end up chatting pretty amicably about professors and TAs they liked and hated in their shared philosophy courses, homework, and Alex laughs at Jake’s surprise, finding out that only a few of his frat brothers are even in sports as part of their long-term goal. Alex mentions a ‘Zee’ a few times, and eventually Jake realizes he’s talking about the Box Boy his frat bought, not just another frat brother or friend. 

He doesn’t talk about the Box Boy like he’s just an object to be owned. Jake wonders why he went in on the purchase at all. Probably, he decides, peer pressure. Everyone does stupid shit because of peer pressure. Jake smoked for a while in high school. His friend Krista got the worst haircut Jake had ever seen. Maybe Alex’s stupid peer pressure thing was buying a fucking person. 

Nope. He has to stop being so bitter about it. It’s just part of being in a subculture - and like it or not, being against pet ownership is way more of a minority, right now, than being either neutral or in favor of it.

If he carries all this anger back to the shelter tonight, the rescues will pick up on the tension, on his unhappiness. They’re all experts at reading the slightest negative change in mood, and while not all of them panic, they will all start trying to fix it in whatever way they understand. Jake definitely doesn’t have the energy to deal with a handful of recovering pets trying to clean or cook or screw their way out of danger. 

He walks Alex to the Student Center while the conversation is still safely focused on surface level stuff, grabbing himself and and Alex both iced coffees before he heads downstairs. Alex seems like he knows every third person they see. Jake can’t decide if that’s some weird politician-to-be gladhanding, or if he genuinely just has a really good memory for faces and names. 

He has to stop being so bitter about politics, too - not everyone’s going to be Senator Carlotta Grant, after all. Maybe Alex will be one of the good guys, for real. 

Maybe Jake can help nudge him that direction, if he wasn’t already headed that way.

The basement has a bunch of space for students, too, but Jake can count on his hands the amount of people he’s ever seen here over the course of his entire collegiate career. There’s a small booth where a bored girl with long black hair is ostensibly selling jewelry and pottery, a small open area with a piano that has a thin film of dust, and Jake leads an increasingly nervous Alex all the way to the back, where a series of hard wooden booths are built into the walls around an open hardwood floor. It’s dim down here, and dark as hell. Jake likes to call it the Speakeasy - to himself, at least. That’s what it reminds him of, speakeasies in Hollywood movies.

“I’ve never been down here,” Alex says, slightly hushed. “I didn’t even know this existed.”

“Yeah, it’s like… everyone just collectively decides to ignore this part of the Student Center. Works for me. We have meetings down here sometimes. Plus, the fact that nobody knows about it means nobody is gonna give us a hard time about whatever you’re going to tell me.” 

Jake slides into a booth and Alex sits across from him, the both of them slipping their backpacks off. It feels sort of hilariously surreal, like they’re in a movie about spies or the only two people who know the truth at the beginning of a zombie movie. 

Alex pulls out his cell phone, nervously fiddling with it and staring down. The silence draws slowly out until Jake finally leans over. Alex’s blue eyes jump up to his. “Look. The answer is yes, I, uh. I do some stuff with pet lib groups now and then. If you’re looking for info on, like, how to donate and shit, I’ve got some papers in my backpack with stuff you can do to help the movement… we could really use some clothing donations and, like, canned food and stuff right now-”

“No, um. I mean, yeah, I’ll… I’ll ask around and see if any of the guys have clothes they don’t need, but… that’s not… what I want to ask about.”

Jake frowns, then asks, softly, “Are you looking to help him get out of the system? Your Box Boy, at your frat house?”

There’s a pause. Alex goes wide-eyed, like he hadn’t even thought of it. “No! I mean. Not, um. I don’t think he’d want to… I just wanted to… to ask. Some stuff. About, um. How to help him act more like, uh, like a person. Like, if I take him out or whatever.”

Jake’s headache is getting worse.

“You want me to give you advice on how to train him?” He can’t stop the jagged edge that creeps into his voice. “So that you can, what-... hide what he is and take your pet around without having to answer any questions about it and face up to what you did-”

“Holy shit, dude,” Alex says, sitting back and setting his phone slowly down. “You don’t need to get so mad about it. I didn’t mean-”

“Well, what did you mean? Look, I do a lot of work with the kinds of people who get bought. I’m sorry if that freaks you out or something, but… you should see the damage this whole system does, you know?”

Alex is quiet, for a long time, just staring at him. It’s hard to tell what he’s thinking - he’s already got that way of looking serious and thoughtful without actually giving anything away. Then, quietly, he says, “Zee has nightmares.”

“You call him Zee?”

“Yeah, uh. I mean, technically Z2, it’s part of his, um, official-”

“Yeah, I get it.” Jake sips his iced coffee and watches Alex hurriedly pick his up and sip, too, like he’d forgotten it was there. To Jake at least it seemed like a lifeline, a way to hold back the urge he has to grab this guy by the shoulders and shake him. “They make them answer to numbers. Dehumanization is, like, the first step of what they do.”

Alex’s face twists, like he’s tasted something awful, and he looks away. “Right. So, anyway, we all kind of decided on Z2. But… I like Zee better. It seems like it’s short for, for a real name, maybe. Like I could call him that in public and nobody, nobody would know-”

“That you own him?”

“No.” Alex sits up straighter. “No, not exactly. I figure it’d make it easier for him. I don’t-... I don’t really care what people think about me-”

“If you’re going into politics, you’re definitely going to care what people think of you.”

“Look, man, let me finish a sentence, okay? Just, like,  single sentence?” Alex pauses, and waits, and Jake finally sits back and sips his drink again and nods, silently. Alex sighs. “Thanks. I just meant that if I call him Zee, people will talk to him like he’s a regular guy. And I think he deserves it, to be able to go out and just, like, talk to people and be normal. That’s all I meant. But, this is… you, um. You just said you work with them, right? With, um. The… ones who get away? Get freed, or whatever?”

“They don’t get freed,” Jake says flatly. “That’s a myth. They run away or they stay kept.”

“... right.” Alex frowns, looking down at his coffee again, rubbing his fingers over the condensation building up along the clear plastic. “You said you work with them? So, um. I just. I want to know how to make things better for Zee, while he lives with us.”

“Belongs to you.”

Alex groans, throwing his hands up in the air. “Fine! What is it with you, dude? I’m trying to make Zee’s life better. I can’t just, like, make him not a Box Boy. One of my brothers technically has all his paperwork, we all went in on him together, he belongs to the whole fucking frat. If it was up to me and Dom, we’d free him in a heartbeat, okay? But it’s not up to us. And I can’t figure out how to make things better for him unless I know where to even start.” 

There’s real anguish in his voice, now. Actual, genuine guilt and remorse. Jake closes his eyes, takes a deep breath, calms the anger that he feels buzzing along all his nerves. It’s not Alex’s fault. He’s part of a system just like everybody else. Born into it, raised in it, no need to question or even think it through, until something hits him where he lives. 

Literally, in this case.

A lot of people are paid a lot of money to make sure people like Alex don’t ask questions, don’t try to make anything different or better. A lot of people work very hard to put out marketing materials and buy TV ads and write speeches for the President all about how great and above-board and one hundred percent normal it all is. 

And people like Jake are the nutjobs standing on a streetcorner wearing a sandwich board.

“Yeah,” Jake says. Just something to fill the silence, while he keeps his breathing slow and even, takes another drink. “Look, can I… can I say something?”

“Sure. I haven’t been insulted enough today, have at it.” Alex slumps back, looking almost morose, like a kid tired of being yelled at for listening to his music too loud. 

“I”m not going to insult you. Uh, anymore. I just wanted to say… I’m sorry. It’s… I live it, every single day, so it’s kind of hard to remember not everybody does. I’ll help you out with some advice, but… but I’m really going to want you to set him free for us to help him, you know? Or people like us, anyway. Just… know that any advice I give you’s going to come from that direction, okay?”

Alex swallows, drawing little nonsense symbols on the tabletop with one finger, as he thinks. “... okay. Yeah.”

“Good. So you said he has nightmares?” He pauses long enough for Alex to nod. “Okay. That’s a good starting place. They all have nightmares. Fucking all of them. Got it? And I bet if you wake him up, he doesn’t even know what he was dreaming about, right?”

“Uh, yeah. Or he won’t tell me, anyway. He tried once, but he got a really bad headache and had to take some, like, Advil…”

“Which, I’m going to guess, didn’t do shit to help. It’s not a headache from actual, like, nerves… it’s a conditioning thing.”

“... the fuck is conditioning?”

Jake opens his mouth, closes it again. Then he turns and digs into his backpack, pulling out a worn, wrinkled old bit of printer paper carefully folded into a three-sided brochure. WRU and the companies have the good stuff. Nat just prints this stuff out on her home computer, and Jake and the rescues sit up folding them until they look - mostly - presentable for the public. He slides it across the table, and Alex picks it up, looking it over. There’s an old photo on the front of a woman who died back in the 90’s with two rescues standing in front of her, her hands on their shoulders, everyone smiling. It’s the best picture they have. 

Nobody wants to have their photo printed, not anymore. Not since people started disappearing, sometimes. 

“Read this. It’s got a little bit in it about navigating that stuff. Conditioning is like brainwashing, a little bit. It’s how they teach them to act the way they do. Like… you’ve probably noticed he can’t really say no to any chore you tell him to do, right?”

Alex swallows, hard enough for Jake to notice, and nods. He’s still got the brochure unfolded in his hands, but he looks up slowly, meeting Jake’s eyes. “Yeah. And he never gets mad, either. He just… does whatever we tell him. Even if they, uh, sometimes the others… aren’t super nice to him. And he just… takes it.”

“Right. His nightmares are probably about the reason he just sits there and takes it, Alex. If you push him - if you give him orders he can’t handle, or you tell him to do something that hurts him or he’s terrified of it or, like…” A thought flashes through Jake’s mind, one that’s so dark even he doesn’t think the frat boys would be that kind of evil, and he dismisses it. “... even if you tell him to go jump out a window, or something… he might protest or cry, but if you keep going… he’ll do it. Because, deep down, that’s all he can do anymore. Got that?”

Some of the blood has drained from Alex’s face. “And he has nightmares about, about being… taught? To do whatever we say?”

“Yeah. Look, I’m going to sound fucking crazy, I get it. But… please just trust me. I see rescues - that’s what we call the ones we take care of - every day. They all have nightmares. They all do whatever you tell them to. Some of them do worse than that. I can help you with some exercises, some therapy stuff, that we do to help calm their nightmares down. But I can’t do anything that’ll really, really help, unless you let me talk to him. Or if you get him out of that frat house.”

“I can’t do that. He doesn’t even belong to me, he belongs to all of us.” Alex’s face twists again, but Jake is more focused on the fact that Alex didn’t protest the idea of freeing the boy at all. Only argued that it would be difficult. That Jake could work with. “Technically he belongs to my frat brother, and Cam’s… um.” Alex is silent for a second, and then asks, “What do I do if someone else, like… pushes him in ways he’s not supposed to be? Like… that don’t go along with what he’s, um, what his… category or whatever is?”

“What?” At first, Jake’s confused.

Then he realizes what Alex is actually asking, and feels the anger under his skin all over again. 

Closing his eyes isn’t enough this time. He thinks about the rescues he’s seen come through, all of them used in different, equally horrible ways. All of them absolutely, completely, utterly unable to even begin to refuse it. “Is it just one guy, or are there more?”

He’s surprised to hear his own voice come out soft, and even. He doesn’t even sound angry. Just mildly annoyed.

Underneath that, he’s ready to start throwing punches. This is why he doesn’t talk about this stuff at school - he’s going to miss his classes today, unable to handle it being here, too, when normally he keeps the two halves of his life separate so he can keep himself from burning out too soon. No, he’ll skip class and go straight to the shelter tonight. Get to bed earlier than usual, if the rescues are feeling good. 

“Just one… I think. I mean, I hope just the one. We, uh, we talked about it with him, and I’m sure… I’m sure it won’t happen again.”

“Yeah, it will. Give someone total power over another human life and they’ll go fucknuts destroying it.”

“We’re trying to keep them apart, but… we can’t always be there. Which is why I thought, um, if I could get him to pass for, like, just another person he could maybe just go around with us more and not be in the house when we’re not…” 

“Good start. I’ve got… hold on.” He digs another piece of paper out and lays it out on the table. “This one’s about ways to talk to your rescue about consent. It’s… kind of an awkward conversation and he won’t understand it. But… if you just keep talking, it’ll help him feel better standing up for himself.”

“Why doesn’t he understand cuh-... uh… consent?” Alex’s face was red again. “I mean. He wants… so much attention, and he seems like he’s used to being, like, hugged or kept around people, like he wants it. From Dom and me, at least.”

Jake swallows, trying to decide how much to tell him. How far to take this conversation. He pulls another paper, this one four sheets stapled together front and back, and lays it down on the table, too. “Have you ever been locked in a room without human contact for months on end, except to be hurt? The only good thing they get is dehumanizing shit like that - being petted, or touched against their will. It’s normalized. He doesn’t know he shouldn’t want it, anymore. And he’ll be terrified and upset if you stop.”

Alex looks down at the paper, shaking his head “Do you… do you have a paper for everything?”

“Bet your ass I do. That one’s on training methods. Turn to page two. It’ll answer your question. I have stuff in here to answer all your questions, and I have-... there’s a, uh. A friend of mine… I could bring to talk to you, if you’re interested. A rescue who’s… mostly… better now. He’s our IT guy. He’s been through all the counseling, and he remembers training and all of it. He can tell you what your, uh. What Zee has gone through. Ways to help him break it. But… that’s only if you want. I get that I’m throwing a lot at you. And I get that it probably seems crazy-”

“No, it doesn’t. Really.” Alex leans over, looking at him earnestly, one hand over the papers Jake has set down on the table between them. “Look, before I met Zee, I would maybe have thought… it was all exaggerated, but… but I’ve listened to him when he sleeps. He sounds so… terrified. And he’s so grateful for… everything. Anything nice, literally the smallest nice things… I don’t think you’re crazy, I think… think like, maybe… maybe I need to try and help him get out of our house before I graduate, I just have no idea where to start.”

“I can give you an address,” Jake says, softly.

“Uh… no. I don’t think he’d… want to do that.”

“Not yet. But it’s what a lot of them do, when they’re ready.”

“No, I get that, but I just. Um. I don’t think I’d… want him to be, like, homeless? Just without anybody? That seems really… awful, actually.”

“Does it?” Jake raises an eyebrow. “Does it seem worse than, I don’t know, cleaning frat guy toilets? Or whatever awful shit you’re almost telling me about your frat brother? Does he even have a bed?”

Alex looks back out into the dim basement corner, tapping his fingers on the table. His discomfort is basically a physical weight around him in the air. “No. He, uh. There’s this… closet, or he stays with Dom or me…”

“Yeah. So. Does that seem better than an address where I can guarantee a bed?”

“No… it doesn’t… I guess.” Alex glances down at his coffee, apparently surprised to discover he’s been drinking it the whole time and it’s all gone. He takes the lid off and picks out a piece of ice, crunching it between his teeth. The sound is enormously loud in the quiet, empty space. “I just feel like… we care about Zee. I think I can do better than, um, whatever you’re suggesting. I just… need your help, to do better. He… deserves better.”

“Yeah. He does. They all do.”

Alex takes a deep breath and turns back to him, folding his hands together on the table, looking for all the world like the senator or congressman or whatever he’s planning to maybe one day be. He leans slowly over and looks Jake right in the eyes “I want all your papers from your bag. Just… the whole library. I don’t want to, to send him away. I think he’d… it’d hurt him, so badly. He really likes us, and we… we’re trying. But I want to know how to do better.”

Jake stares right back. He can’t tell if Alex really means it, or not, but he sounds like he means it. Finally, he turns and digs another stack of papers out, maybe a hundred different pages all total. He always keeps some on him, just in case, but nobody ever really asks. He lets the stack fall a couple of inches in front of Alex, watching his eyes widen as he stares.

“There it is,” Jake says. “The whole damn library. All the reading you could ever want on why the pet system is bullshit, what they’re doing to make you think it’s okay, and how to help someone who’s been trapped in it. If you and, uh, your frat brother, or-... or Zee wants to meet with my friend Nine, I can introduce you. Only when you’re ready. I’m on campus Tuesday, Wednesday, Thursday basically all day. I can talk to you whenever. My number’s… hold on.” He grabs another piece of paper out and scribbles his number down, hands that over, too. “Call me if you want to talk more, on those three days. The rest of the time I work with the rescues, and I’m not gonna answer my phone unless someone died or you’re my dad.”

Alex nods, and shoves the whole pile of papers into his own backpack, zipping it carefully up. “Thanks. Hey, can I ask you something?”

Jake lets out a sigh. He knows what the question is going to be, too. It’s the same question, every time, and they always save it for the end of the conversation. “Yeah, go for it.”

Alex pauses, then asks, “Is it true you know Vincent Shield?”

Jake huffs a little bitter laughter. They always ask, every single time. 

“Yeah, I do. And he’s a dick.”

[twentiethcenturymoviesandtv]

The Princess Bride: Facets of Film

Movie-making is a tough and complicated business.  Once you have a studio sold on your pitch and script, there’s changes to be made, casting to be done, lighting choices, changes to the script, sets to find, costumes to make, special effects to prepare, more changes to the script, camera set-up, studio supervision, and then, possibly, more changes to the script.

In a business populated by that many people all working on the same project, every film is a minor miracle that it got made at all.  

As you may have gathered, making a movie is a huge undertaking.  There’s a lot that goes into it: cameras, music, sets, special effects, costumes, and more, managed by a lot of people who are very good at their jobs.  All of these little elements, which don’t seem that important on their own, all go into piecing together a coherent narrative in a way that makes sense, and looks good, to an audience.  

These elements, cinematography, lighting, costuming, special effects, etc., are the elements that can catch the attention of an audience, taking a ‘good’ film, and turning it into a ‘great’ film, thanks to the powers of movie magic.

See, movies are a very visual medium.  You can have a good story and characters in a book, but you have to imagine what it looks like as it moves along.  In a film, you have to watch what someone else made up.  This can be either an advantage or a disadvantage, and the difference is made entirely thanks to production design.  These ‘facets of film’, the trimmings that make a movie a movie, are vital to visual storytelling, enabling casual movie-goers to interpret what the framing of some scenes is trying to tell them.

Most audience members subconsciously internalize things like thematic costume changes, or a musical cue, without putting thought into figuring out what exactly was getting that point across.  The point is, these ‘facets of film’ are not only for filmmakers or movie critics to think about and fawn over: This storytelling shorthand is an important tool that gives the audience all of the information they need to have, without spelling it all out in dialogue.  Westley as the Dread Pirate Roberts wears all black as visual shorthand that he is dangerous, Humperdinck wears fine clothes to establish status and style, even Buttercup, whose clothing is plain when she is with Westley and uncomfortably bedecked when she is with Humperdinck, is dressed in a way that conveys something to the audience.

In other words, it’s very useful.

A good director knows to use these aspects of ‘storytelling shorthand’ well, as opposed to competently.  Too often, directors can decide to focus the production crew, and the movie itself, in the wrong place, attempting to garner praise for production design rather than substance.

There’s nothing wrong with looking good and being a well-done movie from a technical standpoint, but the balance is necessary.  A good director knows that visual storytelling accentuates its story, rather than overshadows it, intended to get the plot across in the most effective way possible, focusing on what is important: the story and characters.

Much like The Princess Bride does.

The Princess Bride isn’t exactly a blockbuster-style film.  There isn’t a huge budget spent on special effects or huge setpieces, but what is in there is done so with a remarkable touch.  Every inch of this film is designed to look like it takes place in a fairy-tale story, not exactly ‘real locations’, but looking like pictures you’d find in a story book.  That extends to the camerawork.

Camerawork is a pretty big deal in film for obvious reasons.  

The way a director uses a camera can tell the audience a lot, using some shots to emphasize different emotions, or even to get across different feelings to the audience.  Filmmakers use editing of these shots together to tell the story, to move the audience’s line of vision so that it is always centered on the action while also helping to set the mood or leave a visual impression on the audience.

So, does The Princess Bride manage that?

Most of the camerawork in The Princess Bride is fairly standard stuff, wide-shots for action, close-ups for dialogue or emotion, establishing shots for a new location, etc.  However, there are a handful of tricks that are notable: natural lighting used in the shots to make them feel open, spacious, and real, contrasting with artificial levels of darkness in the Fire Swamp, or the upwards-facing shot of Fezzik’s impersonation of the Dread Pirate Roberts, seeming to increase his size and formidability.  Other shots, like the coming-into-focus of Westley rising to point his sword at Humperdinck, are equally effective, in uses of ‘subjective camera’.  There are other, more traditional examples: shots of Buttercup’s abduction from above to make her seem even smaller, and establishing ‘relationship’ shots of people on the same level in the same frame, such as the sunset-lit kiss sequences bookending the film.  Even the editing, while being mostly standard, is given a few moments to shine, such as when the Grandfather is trying to find his place in the story after interrupting to make sure the Grandson isn’t frightened by the Shrieking Eels.  

Still, overall, it’s a fairly simple film in terms of visual style.  The cinematography is aimed at one goal: creating a charming, warm, comforting atmosphere that translates well and correctly conveys the mood of the audience.

This is even more so aided by the film’s score.

It’s fairly obvious that a movie’s soundtrack is integral to its success: a good movie can be elevated to iconic levels thanks to a good score (i.e. Jaws, Psycho, Star Wars, etc.).  In other cases, music can be passable, serviceable, without being bad or fantastic.

In the case of The Princess Bride, the score is….interesting, to say the least.  Instead of a traditional ‘fantasy’ score, the soundtrack was composed by Mark Knopfler, the front guitarist for the band Dire Straits (Money for Nothing, Walk of Life), using synthesizers and acoustic guitars to get the sound of the film.  The score, especially both the instrumental and vocal covers of ‘Storybook Love’ (sung by Willy DeVille) is memorable, overall, if nothing to write home about.  The soundtrack does what it is intended to do: set the scene, notably in the scene ‘The Chatty Duelists’, where Inigo and Westley fight to the stings of the music.  The music overall accentuates the grand, sweeping visuals as well as the tense, exciting sequences, keeping the audience in the story very well.

Speaking of grand, sweeping visuals:

The sets of The Princess Bride overall aren’t really ‘sets’ at all.  The ‘Cliffs of Insanity’ were in actuality the Cliffs of Moher in Ireland, and even Humperdinck’s castle was actually a real medieval manor house.  From Miracle Max’s shack to the Fire Swamp, to Rugen’s torture chamber, the rest of the settings of The Princess Bride do their job very well, creating a fantastical atmosphere that serves the story admirably.  These aren’t the vivid, magical sets of The Wizard of Oz, designed to create an atmosphere of dreamlike fantasy, rather, the settings of The Princess Bride are more intended to create a feeling of Magical Realism, that it is a storybook, but that the locations look and feel familiar and realistic.  This is helped somewhat by the fact that the film itself doesn’t rely on special effects much at all: aside from the Shrieking Eels and the (rather unrealistic looking) ROUSes (saved by the storybook feel of the entire film), there aren’t any real fantasy-specific special effects that other films might utilize.

There’s more to an immersive movie experience than sets, costumes and music, though.  In the end, no matter how impressive, the special effects, sets and costumes don’t really mean anything if the characters aren’t believable.  The movie really rests on the shoulders of the performers: it’s on the actors to try to sell not only their surroundings and story, but the characters themselves, everything from the personality to the emotions.  

In the case of The Princess Bride?

Cary Elwes’s performance as Westley is lighthearted, emotional, and extremely sincere.  He’s charismatic, charming, and makes you believe that he’s exactly as skilled as the story needs him to be.  He also manages to convince an entire audience of the genuine love he has for Buttercup, and is distinct as both his Westley persona and his ‘Dread Pirate Roberts’ persona.  In other words, he’s perfect.

Cary Elwes balances the ‘indestructibility’ that most protagonists seem to possess, seemingly in control of dire situations, as well as the vulnerability necessary for an audience’s sympathy and concern for his well-being, for his goal.  In other words, he manages to pull off a character that seems designed for an earlier time, updating it with a sense of humor and charm that perfectly suits the rest of the film.

Robin Wright is similarly well-suited for Buttercup, as she’s written.  I’ve discussed elsewhere the potential problems presented by Buttercup’s rather uninteresting personality and role in the story, but Buttercup’s Defrosting Ice Queen tendencies are very well conveyed, especially early on.  As I mentioned in other articles, her chemistry with Elwes makes the romance element of the film convincing in the few scenes they have together.  She does a good job with the material given to her, it’s just a shame that there wasn’t more for her to do.

On the other hand, Mandy Patinkin as Inigo Montoya, despite the unconvincing accent, is inspired, with Patinkin bringing both warm humor and ice-cold vengeance and formidability to the role.  Both he and Elwes brought great physicality to their sword-fight sequences, training hard in order to do as much of their own fighting as possible, and it shows in the performances in the final product.  Inigo’s inner conflict is showcased well, with Patinkin providing both the comedic highlights as well as the intense emotional ones, especially his final duel with Rugen.  It is Inigo’s lines which tend to be the most memorable, owing a lot to Patinkin’s iconic delivery.

All three of the main trio play their parts perfectly, but they are only the chief standouts in an entire film full of them.

André René Roussimoff (better known as André the Giant) despite not being an actor in the same vein as the rest of the cast, is iconic as Fezzik.  The instant likeability present in the performance carries strongly throughout the film, with his own fair share of memorable dialogue (which, granted, nearly every member in the cast has).  His physicality isn’t really what makes him such a distinct part of the cast, rather, it’s the character’s heart and humor that makes this performance such an integral part to the film at large.

Similarly (though in the opposite direction), Wallace Shawn is a wonderful choice for Vizzini, his distinct voice and mannerisms giving the character plenty of funny dialogue without entirely removing the threat he poses.  Despite not having a lot of screen time, Shawn manages to make the role iconic instantly, with inflections that make the word ‘inconceivable’ memorable to this day.

Chris Sarandon is perfectly cast as Prince Humperdinck, playing arrogance and control that all come crashing down in the final scene.  Humperdinck is all bark and no bite, appearing confident and competent until he is met by someone who might pose a challenge.  He’s conniving, cold, and disinterested in anything other than his war, making it especially rewarding when he is defeated.

Similarly, Christopher Guest plays Count Rugen with a sophisticated coolness, never really invested in what’s going on or terribly worried about it until that ‘little Spanish brat’ comes for revenge, very well equipped to deliver it.  He plays the final duel scene notably with an increased losing of composure, cluing the audience in to his inevitable demise for the sake of vengeance.

The other characters perfectly hit their mark as well: Billy Crystal and Carol Kane are a comedic team to be reckoned with as Miracle Max and Valerie, with other special standouts including Peter Cook as the Impressive Clergymen (a scene stealer with only one appearance), and Peter Falk and Fred Savage as the Grandfather and the Grandson, respectively.

Every character in The Princess Bride comes across exactly as they should: as characters in a fairytale, fondly looked back on from a place of adulthood.  Each performance is perfectly suited to each character and the type of movie that they are in, with every performance hitting a mix of sincerity and drollness.  These performances aren’t necessarily subtle, but they aren’t supposed to be.  They are heroes and villains, giants and master swordsmen and princesses, acting out a fairy-tale that knows exactly what it is, with tonal consistency that never seeks to outdo the material the actors are given.  These performances are the final piece to cementing this film as a true classic, bringing entertainment to people decades after it’s first release.

In short, the filmmakers of The Princess Bride knew what they were doing.  Everything from the performances to the camerawork gets across every emotion and aspect of the story instantly, with the sets and costumes working to explain simply what’s going on as quickly as possible.  It’s a storybook set to film, both comforting and exciting, and the ending feels right, no matter how many times we revisit it.  

The Princess Bride has long been considered a cult classic, a hidden gem that was looked over by a public who never really knew it was there in the first place.  Even if it never reaches the high peaks of fame as other fantasy classics, it may not be a stretch to hail it as one of the greatest fantasy films (or films in general) ever made, through simple (but not simplistic) substance, if not bombastic style.  

Of course, no movie comes around accidently.  There had to be some work done behind the scenes for this film to have come about.

Join me next time as we discuss the Facets of Filmmaking: the Behind the Scenes of The Princess Bride.

Thank you guys so much for reading!  If you have something you’d like to add or say, don’t forget that the ask box is always open!  I hope to see you all in the next article.

[takaraphoenix]

So I just finished the third season of The Bold Type and oh boy did they drop the ball in this one. I... really enjoyed this show until now but this season was just so intensely exhausting and honestly cringey.

The only good storyline was Jane’s. Her finally dumping that cheating piece of garbage. The way they handled her surgery and recovery and the struggle she had. It was incredibly emotional and well-paced and I genuinely loved the way they handled it.

-

But everything else was... pretty much garbage, in my opinion?

-

I mean, Sutton? Sutton and Richard, getting married, after being in a relationship for what, five years? And... they never actually talked about their future? They never talked about having kids? I hate this dumbassery of “let’s get married but like we never actually talked about how we imagine our future” and the way they handled that, with how Richard behaved? How he placed all the blame on Sutton? What in the world was that? She put her life on hold for him, repeatedly. It wasn’t because of her job that you guys hid your relationship for so long, it was yours. And when you decided to go to San Francisco for a job, she was just 100% behind you.

But now she’s deceiving you because... she... doesn’t read minds, or what? Saying “I want something like they have” is the broadest, least specific bullshit. Something, what? Their career, their marriage, their house? That does not specify that you want children. Saying “I definitely want children” is how you specify that you want children. To only blame her for not telling him that she didn’t want kids...? When two people are in this relationship and neither of them actually spoke up about their wants and needs here? That is equally both their fault.

Not to mention his... his reaction. Just, his reaction to everything.

When, only two months after the miscarriage, she wanted to have sex again and he just immediately goes “so x position is better for conception”, that was just... incredibly insensitive. I don’t know about anyone else but me, but... two weeks after losing a baby to already try again seems incredibly early and to overrun her like that instead of first, in a quieter moment, address the issue? Not to mention that this was an unplanned pregnancy and she just started a new, busy job so it really wasn’t a good fit time-wise.

His reaction to when she told him she didn’t want babies? The throwing and trashing stuff? It just will never sit right with me when men express their anger/frustration by smashing and destroying things right next to the woman. It is purposefully intimidating and reads far too close as a ‘replacement’, which also is always intensified by the woman jumping away instinctively, as Sutton did. Not... Not a great move. Really creepy.

And then they just... end it. Just like that. After this entire show had their will they won’t they build up to them getting married, it all falls apart like that, so unceremoneously and Sutton goes onto a completely self-destructive tour of discovering that she is, after all, no better than her mother, putting her somehow even below square one.

-

The worst offender however is whatever the fuck this show did to Kat. And to Adena. But let’s start with Adena.

Adena, an out and proud lesbian, a Muslim, a woman of color, a feminist. And now... a biphobe, apparently? Wow, that’s just such a great look on her.

It’s incredibly OoC for Adena. This woman, who met Kat when Kat was still thinking she was straight, who supported Kat through her self-discovery. And while Kat used “lesbian” as a self-identifying label twice in previous seasons, she always more leaned toward “queer” to label herself.

So to now have Adena, whose entire character was always about lending women a voice and standing up for them, who always supported Kat, who met Kat when Kat was still very much busy sleeping with men, now act biphobic when Kat comes out as bisexual...? It just... It really fucked Adena over.

Especially the garbage she was spouting. That if Kat now liked men, did that make Adena “just a phase” and were her feelings for Adena “even real”? That is just the most bottom of the barrel biphobic talk, this felt like someone just did one quick google search on biphobia and crammed them together and made Adena say that. It... just didn’t feel authentic for Adena, after how she had been represented so far and how she had acted and handled Kat’s journey of self-descovery.

I understand that they really wanted Kat to face biphobia and I genuinely did love the bonding moment that gave Kat and Oliver, but there was absolutely no need to throw Adena under the bus like this. They could have literally gone to that stupid lesbian-exclusive party and just have... have some random unnamed character act biphobic?

Considering this wasn’t even meant as a lasting plotline that’d be pulled through as a proper arc, because two episodes later, Adena suddenly got over her biphobia. Which is just another thing that makes it more ridiculous, because a woman like Adena, who is deeply involved with the community and who is strongly opinionated, would - if she really was biphobic - not just change her stance on that in like two weeks just because...?

It really showed that they used Adena not as a character but as a plot-tool for Kat’s plotline and it did Adena such a disservice - especially since she is one of your four (4) queer characters and she is your only lesbian.

Don’t validate negative stereotypes like prickly lesbians who only date Gold Star Lesbians because otherwise the lesbian feelings between them just aren’t lesbian enough and like how would she know they’re real if her partner isn’t also a lesbian?

And yes. Yes, I am well-aware we have a huge problem of biphobia within the community. I am well-aware that these type of lesbians exist. But, as mentioned above, they could have taken a minor character only introduced for this plotline to deliver this biphobia, instead of throwing their only lesbian character under the bus like this.

Adena is such a brilliant character and she is... so much representation? I mean, she is one of only four queer characters, of only two queer women, she is the only lesbian, she is the only Muslima, she is one of the only two women of color in the recurring/main cast. I genuinely don’t understand how you can look at a character like that and go “ah yes, let’s just temporarily antagonize her for another character’s plotline, which goes entirely against her own characterization so we will actually also totally backtrack on it after all is said and done”, because it’s... I don’t think there’s a real word for what this is, but it’s bullshit, to say the least.

-

Now about Kat. Who finally figured herself out this season. And then just immediately had to deal with the biphobia, but not for too long because that’d be too distracting, we have too much to do in throwing her character under the bus too, after all.

I mean seriously, Kat’s a biracial bisexual liberal woman, who had an entire season-long plot about being a liberal woman trying to carve a space for herself, for her community, against bigotry. Both, her being biracial and her being bisexual, has always torn her and made her not fit quite in and made her look for her place to belong and she fought hard for it.

So the natural progression for her character truly is to make her date a... I really do not want to type these words together, to be quite frank... but a Republican lesbian. And not just... be with her, but “come around” to her viewpoint. It was essentially throwing out the long-suffering plotlines of Kat fighting hard for her spot in favor of now being downgraded to a bar-tender who is fascinated by the Republican POV on life.

They really used Kat to antagonize liberals as sensitive snowflakes and show that “Republicans can be serious and have good points too!”. They turned Kat into a... clumsy oaf, at best, the way she handled herself around the politics this season? After she literally ran for office before, trying to become a politician herself? But now she is swayed or fascinated or whatever for “the other view-point”?

And just the timing, to have a “Republicans aren’t that bad!” angle in your show while Republicans are literally busy running your country into the ground? Ya really thought this was a great angle to work with? And for her, of all characters?

It made... absolutely no sense with how Kat had been portrayed so far to have her enthralled by this bullshit spouting Republican, because “different views are important and can be insightful”...

There are angles where, from a storytelling POV, you can introduce various views and make it very interesting to watch, but if your way of introducing this other view is literally by her defending her homophobic father who wants to help pass a bill on conversion therapy, I’m sorry there is absolutely no listening to that.

And that’s not being emotional. This is directly about the lives of human beings. There is no discussing that, there are no other opinions on the matter of whether or not children should be tortured into being straight.

And having her, very lacklusterly, say that she personally is against conversion therapy means... it... it means literally nothing if she is not speaking up about it and instead wants to bury evidence about her father supporting it and has no problems with him supporting it in the first place.

The ““cutesy”“ situation of her threatening to get Kat fired over this, Kat actually getting fired and her then accidentally getting Kat fired from her next job, just to graciously help her keep her job after all like some White Republican Savior was... very cringey to watch, but so was honestly every single interaction between them, based on the juxtaposition of those characters.

I’m sorry, as a lesbian, I have intensely strong feelings about how they utilized lesbian characters for bullshit agendas this season. First Adena for the biphobia angle and then writing a Republican lesbian in there to like... sell Republicans?

I just... genuinely can not grasp what that storyline even was, because it honestly just felt like Republican propaganda? And yes, propaganda. Because it undermined the already established liberal character that Kat had been, made her not entirely turn toward being Republican but suddenly be oh-so open minded about the views (after this plotline was literally introduced through, and I will say it again, conversion therapy. I mean seriously, you could have a liberal and a Republican have conversations with each other and “see each other’s points of view”, but you absolutely can not have that after introducing the plotline through one of the most horrific things that can happen to our community). They portrayed Eva as the understanding, calm, rational, charming party in this and made Kat the overly angry, emotional and downright doe-eyed one who learned so much from Eva, while not having Kat teach Eva anything. This was never portrayed as a mutual seeing each other’s viewpoints; Kat was the only one who changed over this storyline. And that is what made this not feel like an “equal opportunity POV exchange” storyline but like propaganda.

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My very last critique point is the oversexualization of absolutely everything. I mean, yes, this show has always been very sex-positive and about women embracing their sexuality and I absolutely support this message. But... this season went... beyond that? It wasn’t just sex-positive it was downright negative on no sex. The utter despair for sex and linking it with success?

The plotline of how Jacqueline wanted to show women in “power” through fashion, but it was all about owning their sexuality and the first pitch immediately included lingerie. And worse yet, that thing where Ryan and Jane were not having sex.

The freaking intervention. Because... she was having a genuinely good time just having spa-days with her boyfriend instead of fucking like rabbits every hour of the day? That they literally put an intervention together there. That not having sex is oh-so bad, even though honestly, until that intervention, Jane did not look unhappy.

I just think that a show that praises itself on its queer viewpoints and puts the queerness so very front and center needs to step up their game and start including an asexual viewpoint. Both, in the show and in the magazine itself because everything they write and do comes back to sex and it’s starting to get really, truly tiresome.

Sex-positivity doesn’t have to mean that you reinforce that to be a strong, independent woman you have to have sex and that a relationship is only successful if they have lots of sex.

[jebazzled]

Why Aren’t People Writing With Me?

Why aren't people writing with me?

Real talk: do you often find yourself waiting weeks or even months between partners replying to your posts? Do people seem to prioritize all their other threads over yours? Do people seem to be just not that jazzed about writing with you? It's the worst feeling, when you're spinning your wheels and on the outskirts, wondering why you're struggling to gain traction. Sometimes, sites just be like that - people writing with their friends, or closed groups hard for a newer member to break into, or folks writing on slow timelines, or not keeping track of how long they've kept a partner waiting. It comes with the territory. But sometimes, it might be your writing that's holding your threads back. I know what you're thinking:

But it's something everyone can genuinely stand to consider, when they're having trouble getting a thread to keep moving: how much of this is my thread partner holding me up, and how much of it is me? Is there anything I can do to keep things moving? No matter how long you've been writing or how advanced a writer you are, it can be easy to forget that writing is ultimately a game of improv, and writing well is only part of the job. Part of the job is setting your partner up for a good time, too.

This tutorial is about writing starters & replies that make your thread partner excited to write back.

We'll be covering:

Starters that stall vs. starters that enthrall (sorry! the rhyme was necessary.)

Common tactics for writing replies - and common pitfalls of them

Alternate approaches to writing replies

Hopefully, these tips and tricks will improve your rp experience - because aren't we all here for a good time?

Onward!

STARTERS

Ah, starters. The bane of every roleplayer's existence. Starters are difficult because they often require some scene-setting, leaving the writer to try to set up a premise and a vibe without powerplaying for their partner. And then, you've got to start the interaction. There's a lot to contend with, so a lot of people avoid starters at all costs.

Personally, I like starting a thread: this way, I'm not waiting on a post; I have control over when it goes up. Thread partners often appreciate you writing a starter for them, so it's an easy way to engender good will. And finally, for me, it lets me make sure the thread is off to a good, actionable start.

Starters come with pressure - the starter sets the tone for the thread. A dud starter will stump your partner on replying, and they may even grow to dread posting. Which isn't fun for either of you!

Some things to consider when crafting a starter that will get your partner excited:

PREMISE Whether you're writing an open thread or a plotted thread for a specific partner, every starter needs a premise. The premise might be simple: perhaps your character is going to pickpocket your partner's. Maybe it's two friends catching up. It could be two strangers bumping into each other in an alley. It might also be more complex: maybe you're setting up an enemies-friends-lovers-enemies-rivals-lovers-friends-enemies plot. Maybe your character is defending the teaching of evolution to schoolchildren before a jury of his peers. Maybe it's a duel.

Generally, the more specific the premise, the better. This doesn't mean you need every beat of the thread plotted out, but it is good to think about: What do we want each character to get out of the thread? 

Think of this as your overall goal for the thread. Is one character seeking reassurance or advice? Is there a business transaction being made? Have you and your partner agreed to hurt one character in a duel? If you can't think of an overall goal or point for the thread, the chances of stalling are high. This is common with "catch up" threads, especially ones in which neither character has particularly exciting updates to share. If only one character is "getting something" out of the thread, be careful in your own posts to set up plenty for your partner to respond to. Not every thread will have equal actionable payoff for both characters, which isn't inherently a bad thing. But if your posts don't give your partner much to engage with, the thread can read as selfish or one-sided - which isn't anyone's intention!

How do we want the events of this thread to impact this character, moving forward? 

Related to the above, if both characters can walk away from this thread without any change - perhaps reconsider the premise or necessity of your thread. There is no shame in not doing a thread when it wouldn't mean anything to character development or plot progression for either character! "Just because" threads are always the first that drop on thread priorities - why not save yourself the trouble, and plot something you will both be excited about?

What is the most reasonable entrypoint for this thread? 

Reality is filled with filler - moments in which nothing interesting happens, but which carry us from point A to point B. Conversation that goes nowhere and just happens for the sake of filling silence. But this isn't reality, this is fiction, which means we can cut the boring stuff and jump straight into the meat. If your premise is Character A pickpocketing Character B, don't open with Character A just wandering around the market, waiting for Character B to wander around the market, so Character A can pickpocket them: close your starter with Character A's hand around Character B's wallet. This gives your thread partner something to respond to (the theft) and in two fewer posts than it would have taken otherwise.

ACTION Dialogue is an engine for plot progression and for character development, and there is nothing quite as satisfying as strong dialogue. But questions, greetings, and other standard ways to launch an in-character conversation aren't your only options.

All a starter needs is action, and saying "hello," "what are you doing," or "hey! That's my pod racer!" are all actions. But actions can be silent, too, so long as they trigger a reaction from your writing partner. Character A pulling their hand out of the butt pocket on Character B's jeans, wallet in hand, begs Character B to react. Character C puking into the same trash can where Character D is searching for the utility bill they need for proof of address gives Character D something to dodge. Character E speedwalking through the grocery store and destroying the greeting card aisle gives Character F something to be horrified at. Even if A, C, and E all do it without saying a word. One thing you'll notice about each of the above premises is that they involve doing something - pickpocketing, puking/dumpster diving, grocery shopping. If you suspect your starters are leaving people underwhelmed, consider building your premise around action. The action doesn't need to be dramatic like the above examples. For instance, let's say that Character G is catching up with Character H after her divorce. They can do this over coffee in Character G's living room - but if they're walking their dogs while Character G's kids are with her ex-husband, you and your partner can use the dogs as emotional stand-ins:

Hannah dug her heels into the ground as Penelope started after a squirrel. Beside her, Gloria and Fifi both seemed not to see it. Hannah had never seen Gloria so out of it, so disconnected from the world around her. It frightened her. "How's Fifi holding up?" she asked, quietly, once Penelope calmed down and they kept walking. "I know Mike wasn't great to her, but - she probably misses the routine?"

Giving the characters some sort of verb to do beyond talking gives you more lenses through which to view an interaction, plus more opportunity for body language for your partner to respond to.

STARTERS: TL;DR Now that we've talked about how to start a thread on the right foot, let's quickly review our main food for thought items. Mind Snacks, if you will:

What do we want to get out of this thread?

Start on track for that result - do not lead with a detour!

Build around action - even small ones

Is the concept of this thread important or interesting? Would we be better served skipping it and writing something else?

REPLIES

Now your thread is off the ground. Excellent! It's a few posts in but your partner doesn't seem very excited - maybe they don't message you about how much they liked your reply, or how fun the thread is so far, or maybe they don't react to the tag in the server; maybe it's radio silence from them until they reply a month and a half later, when they're caught up on the threads they seem to keep shuffling ahead of yours. How do we move your thread up in the shuffle? Make it fun to reply to, and easy to reply to.

COMMON APPROACHES  An easy way to tackle a reply is by having your character react to each action and dialogue from your partner's character:

Maycey slid into the navigator's seat of the L2-47 spaceship, almost kicking over a cup of Dark Matter Decaf.

"Sorry," she said, not looking at Brooks. "Are we still checking out Planet 42601, or did General Berry have us change course?" Brooks watched Maycey enter the cockpit, snorting as she almost knocked over his coffee. Though it wouldn't be funny to see what the brew would do to the controls of the L2-47. "No problem," he said. "General Berry wants us to do a pass over 42601, but we aren't doing a full landing."

This reply covers everything Maycey did in her post, but doesn't advance the thread. What comes next? Brooks hasn't given Maycey much information to process, nothing to act on, no juicy body language to consider. Maycey's writer is fully on their own to advance the thread. To move it forward in a meaningful way, they might come up with a plot development they need to run by Brooks's writer to make sure it's not stepping on anything Brooks had planned. They may need to make up some lore. They may need to expand the premise of the thread. Brooks may or may not have helpful input, but when push comes to shove, Maycey is the one who is going to put it in their reply.

Maycey whipped her gaze to her captain, shocked. "But sir - we've come all this way to rescue 42601. Berry - sorry, General Berry wants us to abandon them? Their distress signal took three days to reach us; the atomospheric poisoning has got to be lethal by now." Her hands didn't touch the controls - she couldn't bear to take them off course to the desperate planet. "Sir, we have to do what's right." Brooks took a sip of his coffee, thinking about his own family back on Orbital Sphere 23-Y2K. They'd put out a distress signal years ago, back in his own training days. He'd seen it during radar detection class, and he'd had to ignore it. For the Good of the Galaxy. Not a day goes by that he doesn't think about the flashing signal on his screen, and about clicking the popup window. Dismiss. This, too, is for the Good of the Galaxy. He has to pretend it doesn't bother him. "The right thing is what General Berry says," he said, putting the coffee cup back in its cupholder. "For the Good of the Galaxy."

All of that work from Maycey, and Brooks only gave us one sentence to propel the plot. Yes, he had a lengthy internal monologue debating it - but that interiority means nothing to Maycey, who isn't a mind-reader. In this scenario, the focus on Brooks's tragic backstory, without giving Maycey anything actionable, sets up a very one-sided dynamic. If this happens consistently over one or many threads, the tragic backstory no longer feels tragic in a meaningful way, but just feels like a trite device to be trotted out - to tell rather than show a reader that a character has depth.

How could this post give Maycey more to work off of? Below is the same reply from Brooks, with additions made in green, rearranged wording in blue.

Brooks could feel Maycey's stare - bewildered and accusatory. He can hardly blame her, but she should know by now that this is how the Galaxy stays out of the Great Bezosian Black Hole. Sheer obedience. He avoided her eye contact, took a sip of coffee. Sheer obedience. Just like years ago - back in his own training days. He'd seen it during radar detection class, his own family's distress signal back on Orbital Sphere 23-Y2K, and he'd had to ignore it. For the Good of the Galaxy. Not a day goes by that he doesn't think about the flashing signal on his screen, and about clicking the popup window. Dismiss. This, too, is for the Good of the Galaxy. He has to pretend it doesn't bother him. "The right thing is what General Berry says," he said, putting the coffee cup back in its cupholder - his hands are shaking; it misses the rim twice, sloshes onto the knee of his parasuit. "For the Good of the Galaxy."

This version acknowledges the primary beat of Maycey's post (something we will talk about later) - that is, her accusation - and adds body language betraying his doubts. While interiority is great, externalization makes it possible for other characters to engage with your character's thoughts and motives. Brooks's new post gives Maycey more to engage with, which will better set her up to give Brooks more to engage with, and so on. When you both do the lifting, you both have a better time.

Another common method - especially in conversational threads, especially in "catching up" premises - is to lean on dialogue and, more specifically, questions. But most conversations we have in life aren't nonstop questions!

"Trudy said you got married," Annabelle said, fiddling with the edge of the linen tablecloth. "Is that true? I thought you didn't like Edgar - not like that." Sasha took an enormous bite of raw cucumber, not even bothering to slice it. "We just got engaged, we're not married yet. Don't you like Edgar?" Annabelle looked away, suddenly nervous. She didn't know why it mattered to her whether or not Sasha liked Edgar - only that it did. "He's fine, I guess. But do you like him?" "I do! I love him. Will you be my maid of honor?" Sasha grinned at her friend. She wanted nothing else in the world but for Annabelle to be part of her special day.

This series of posts involves a number of questions both stated in dialogue:

Is Sasha married?

Does Sasha like Edgar?

Does Annabelle like Edgar?

Will Annabelle be Sasha's maid of honor?

And unstated:

Why is Annabelle nervous?

Why does Annabelle care whether or not Sasha likes Edgar?

The stated questions are yes/no questions, somewhat procedural. The unstated question and its implication - that Annabelle cares about whether or not Sasha likes Edgar because she might like Sasha - is a juicier question than the minutiae of wedding planning. But Sasha's writer isn't letting Sasha notice or react to any of Annabelle's body language (her nervousness, her fiddling with the tablecloth) and focuses instead on the simple questions, which are a cover for what isn't being said. Information does not need to be voiced for it to be acted upon. Let's look at the same line of posts, with additions in green for Sasha and in pink for Annabelle.

"Trudy said you got married," Annabelle said, fiddling with the edge of the linen tablecloth. "Is that true? I thought you didn't like Edgar - not like that." Sasha had wondered when Annabelle would ask. She seems on-edge, fiddling with the tablecloth, as though they've never had a picnic outside before. She's not sure why Annabelle is out of sorts, but it's making her feel out of sorts. Sasha took an enormous bite of raw cucumber, not even bothering to slice it. "We just got engaged, we're not married yet. Don't you like Edgar?" She gently grasped Annabelle's fingers, unclenching them from the hem of the tablecloth. "Edgar thinks you're the bee's knees." Sasha's hand on hers - her stomach did a flip, palms instantly feeling clammy, like she could swoon in the summer sun. Annabelle looked away, suddenly nervous. It's worse that Edgar likes her. Makes her feel vile for resenting him like she does. She didn't know why it mattered to her whether or not Sasha liked Edgar - only that it did. "He's fine, I guess. But do you like him?" It's a silly question - of course she loves him; how could she have said yes otherwise? But Annabelle seems not to believe her. Annabelle seems to worry. Annabelle is worried so much of the time - and so much for her - she tries to be reassuring, gripping her friend by the shoulders, offering a grin. "I do! I love him. Will you be my maid of honor?" She wanted nothing else in the world but for Annabelle to be part of her special day. Annabelle is her best friend - the only person she could stand at the altar with besides Edgar.

See how much more complex the dynamic is between these two when they have things to react to other than dialogue?

REPLIES PART 1: TL;DR So now we've addressed two common approaches to replies and seen how they can fall short, and discussed tips for elevating them. Your main takeaways:

Acting is reacting - react to your partner's dialogue AND body language, and give them some to work from, too!

Dialogue is not a game of Questions Only

If you're not driving the thread forward, you're slacking - don't leave it to your partner every time!

SYNTHESIZING: YOUR NEW APPROACH TO WRITING REPLIES

Now that we've discussed the pitfalls of action-by-action responses and dialogue-only threading, let's synthesize all of the above into one methodology for writing replies. The common pitfall of action-by-action responses is that one writer ends up only ever progressing the thread one sentence at a time - thinking of a post in terms of beats helps separate what actually needs substantive response, versus what is background information to inform your response. When I write a reply, I copy and paste my partner's post into the wordcounter window where I write my posts. I read their post and identify the beats - that is, what actually happens. For example: 

Getting elected student body president was no joke. Hattie had worked for eleven long years to earn the position - bossed around her peers all the way from preschool. Back then, she'd been interested in power and prestige. But by the time she'd won the election junior year, she was exhausted. Now, on her first day of senior year, she was just excited about the choice parking spot. And yet, someone had the audacity - the nerve - to cut her off on the turn into the Keppler Family Parking Pavilion and slide right into her coveted parking spot. Crooked, so they took up the access lane to the adjoining handicapped spot. Too far forward, enough that she could see the metal RESERVED FOR STUDENT BODY PRESIDENT sign shaking on top of its pole. She threw herself out of her car, aiming the sole of her left Doc Marten into the license plate of the offender's Buick. "Hey, genius, there's no fucking run-off election this year!"

Because this is a starter, much of this is scene setting, which my partner could choose to echo, but the main things for them to react to are what my character - Hattie - offers in the moment:

dramatically throwing herself out of the car

kicking their license plate

swearing at them

Once I've distilled a post to the beats I need to respond to, I work my way through them, creating beats for my partner to respond to. With this method, a reply to the above might look like this:

Aunt Mildred's car was affectionately called The Boat for the first ten years of its life. Huge and unsinkable. That had changed when Aunt Mildred died in a boating accident over the summer, leaving Mikey the Boat's captain. Now, he just called it the Buick. And he wasn't very good at driving it - already he'd been honked at twice, overshot the turn into the parking lot, tires riding up on the curb. He pulled into the first available space. Figured he was outside the lines - but it seemed like the Buick was too wide to fit between lines anyway. And Aunt Mildred had never been one to follow rules. The terrible park job was in her memory. The sound of metal crunching at the back of the car, however, was not. If it's an accident, the Boat - the Buick - always wins, so Mikey gathered his violin case and drawstring backpack from the passenger seat, opened the driver's side door, and slowly got out of the car, turning his beanie backwards as if it mattered while he shuffled in his Adidas slides to the trunk, where a very short, very angry girl driving a Smart Car was trying to put the Boat - the Buick - in its place. "The car's not moving," he said, pulling a roll of Bubble Tape out of his backpack and taking a huge bite out of it. "But thanks for telling me my voting rights."

Mikey responds to Hattie's abuse of his car, but also gives Hattie a lot to respond to - minor dialogue, but a LOT of personal eccentricities that are bound to piss her off.

The dialogue and the action contribute to the trajectory of the thread - and giving Hattie something to play with keeps the musing about Aunt Mildred from feeling self-indulgent.

It's a small shift, going from thinking of posts as paragraphs to respond to to thinking of them as specific, small, actionable moments - but it makes a difference, especially in encouraging writers to be more thoughtful about creating opportunities for their partner to react.

REPLIES PART 2: TL;DR

beats, babey! not every sentence requires a response, but be sure to write some that do, whether it be dialogue or action.

ACTING IS REACTING!!!!!! if you don't give your partner something to react to, you are letting them down!

And that's all there is to it! Hopefully these examples are helpful as you think about ways to drive your plots and threads, and how to keep your own writing great for collaboration. The most important thing is to think of your writing partner. What do they need to be able to write back? What will make this thread exciting for them? How can you make sure this thread isn't serving you alone? Cheers, and happy writing!

[script-a-world]

Clearly there are some settings which make no sense scientifically. But how do I decide when to intentionally ignore reality, can't bother to do research, don't understand research, and thus create scientifically impossible places? When are such things considered be offensive or overused cliche or have a reader point out the impossibility and can't get into the story? I'm guessing some of this might be structural issues instead of world building?

Tex: One of the perils of attempting to write about highly technical subjects is that you run into the issue of not understanding your writing. I do raise a nominal objection as your first sentence, because sensibility is a sliding scale based on one’s familiarity with a given subject. I don’t know crap about, say, textile art (however much I might have bluffed readers in the past - no, no, this is just good googling skills on my end), but that doesn’t mean the textile arts are an inherently incomprehensible subject.

Scientifically, automobiles were once thought to be insensible. Scientifically, phones were thought to be a flight of fancy. Scientifically, 3D printing was improbable. Scientifically, quantum computing was the stuff of sci-fi nerds who just wanted to slap the “quantum” label on everything.

And yet we are now on the verge of robotic vehicles, mostly functional smartwatches, laser printing cells (PDF), and quantum computers (VentureBeat, IBM).

So I would argue that the insensibility of a setting would be due mostly to, yes, a structural issue - on the part of the author. No matter what you put into your world, internal consistency is key; nothing, no matter how ostensibly outlandish, will make sense if you contradict yourself.

I’ll volley a few questions back to you:

“[...] when to intentionally ignore reality” - Are you ignoring reality entirely, or just parts of it? Why? How does that decision benefit your world? How does it detract from your world?

“Can’t bother to do research” - Is it because you are discouraged by the breadth of your comprehension of a subject, compared to the subject’s depth? Or is it because of something else?

“Don’t understand research” - Is this because you don’t understand the academic papers that turn up in your search results, or because you have a fundamental lack of or misunderstanding of the given subject? Or is it because of something else?

“When are such things considered to be offensive or overused cliche” - As someone who intentionally arranges their studying around the plausibilities of the future, I would quite frankly be delighted to see more conceptual stretches of the imagination in this regard, as do many others on this blog, and beyond it. Why have you already passed judgement on the offensiveness or clichéd-ness of incorporating scientific things? Is this related to your other comments?

“[...] or have a reader point out the impossibility and can’t get into the story?” - If you are writing to please a specific individual or demographic, you are inevitably always going to fall short, because it’s genuinely impossible to meet every single item on a group’s wishlist without devoting your life to it (not an entirely worthy pursuit, in my opinion, but alas). What made you decide to be so concerned over the potential reaction to your stories that you worry about it before the story is even written?

I think I will put the majority of my curiosity’s weight on the last bullet point, as I’m seeing similar themes with the other portions of your question. It’s a fruitless endeavour to tie yourself into knots over a possible (not necessarily probable!) reaction - and quite likely from a stranger, to boot. Education is a relatively easy situation to fix, so long as you’re patient with yourself; dealing with anxieties over readers is… not so easy.

I can really only recommend that you take a close look at the goals of your worldbuilding, and see where you contradict yourself - once you have that in hand, it’s a relatively simple yes/no process of what concepts you want to keep. If the issue of decision comes from a lack of understanding, then make a note to yourself to seek out either the million wikis we Pylons utilize ourselves like any other worldbuilder, or to chalk it up as a genuine lack of context.

Please understand that even someone who’s dedicated their life to a certain aspect of science won’t know everything about it - that’s the point of research! We’re constantly asking ourselves questions, and pushing the envelope of known boundaries. Star Wars has lightsabers, but we don’t need to know how they work; likewise with holodecks in Star Trek. So long as an audience is reasonably entertained with the least amount of head-scratching, you can get away with handwaving quite a lot.

Lockea: On a scale between Star Trek and Star Wars, how “hard” is your science fiction?

I mention that mostly to illustrate that science fiction exists on a continuum, wherein science fiction with more “science” than “fiction” drives a story towards the harder end rather than the softer end. Also, a story’s place on the continuum will change based on what we know and understand about science.

I feel like everyone always beats me to saying all the important stuff about questions, so I’ll just give a few thoughts from my personal experience as a science fiction fan with two engineering degrees and a thesis about robots on the moon (yes really, I wrote my thesis on AI for moon robots). I really, really, love the creativity of science fiction writers. I think so often in defending the genre, we can get caught up in saying things like “science fiction predicted XYZ!” Well, sure, I may have studied Isaac Asimov’s three laws of robotics in my introduction to engineering ethics course, but I was also greedily reading my way through “The Hunger Games” by Suzanne Collins at the same time. The fact that I sincerely doubt Panem will ever happen didn’t dampen my enjoyment of Katniss’s story. It was a fun read and it gave my friends and I something to talk about that wasn’t “feasibility of Battlestar Galactica” during our daily lunches.

The thing about writing science fiction is that, without a doubt, there will be someone who knows more than you about a topic who reads your story. Most of the time, I end up being that someone since everyone likes to talk about Skynet and robots taking over the world to a roboticist who sincerely refers to artificial intelligence as artificial stupidity. Y'all are seriously overestimating the field, my friends. Nonetheless, I still enjoyed “Captain America: The Winter Soldier” even as I thought how impossible Project Insight would be. Honestly, something every READER of science fiction needs to make peace with is the fact that writers will get something wrong. Writers, despite their best efforts, are not always going to understand that a facial recognition algorithm will fail if you introduce tiny amounts of random noise and are thus going to treat The Algorithm™ as infallible in your crime drama novel.

It’s not the writer’s fault, though.

That deserves to be on its own line. It is not YOUR fault if you get something wrong. Would it be nice if science literacy was just better all around? Of course! But it’s not your fault if your science literacy isn’t up to snuff enough to parse the article I cited above. It’s also not your job. Your job as the writer is to tell the most interesting story you can and to maintain your own internal rules and logic such that the reader never breaks the willing suspension of disbelief.

I watch Star Wars and get really into the light saber fight scenes and forget that light sabers are basically impossible to make. Star Wars has the Force, which is basically magic, and that’s okay. Really. I KNOW it’s not possible, but I still have a lot of fun watching it!

So yeah, write that story about how the robots are going to take over the world. I’ll probably enjoy reading it even as I laugh off my friends telling me that I will be the first to die in the robot apocalypse (of course I will -- I have five robots in my living room alone).

Constablewrites: Tone and consistency are the biggest pieces of this for me. If it’s the kind of story where the answer to “How does this work?” is usually a detailed and plausible explanation, then getting an answer later that is implausible or slapdash will stand out more. But if it’s the kind of story where the answer to “How does this work?” is “You push that button and it goes whoosh” from the start, my expectations adjust accordingly. (It’s possible to have the latter version in a story that is mostly the former, frequently when it’s played for last. Again, tone is key.)

So yeah, a lot of this is execution and the way the story sticks to the rules it sets for itself, and also how central the implausibility is to the story. A realistic thriller that relies on cartoon logic for a background bit might be a little jarring, but not nearly as much as a realistic thriller that relies on cartoon logic to set up its main showdown. The more central it is to the story, the more consistency and accuracy matters. Learning how to balance this can take some practice and some insight from beta readers.