#how do you like this diary narrative?

[aurorangen]

Renee started writing in her diary and is very excited to share all her investigations 🔍

Transcript & Bonus:

What he said is kind of true, right?

Go explore the cave near the waterfall in Sulani and find some kelp ✅ Eat it and become a mermaid NOPE NOT HAPPENING!

...

Dear Diary, so many things happened today! Mummy had a friend over and I got to meet her. Her name was Maliah and she had the prettiest purple eyes! I had never seen anything like them.

Robbie also asked me what kelp was and I had never heard of it before. We are going to investigate together, very soon actually! I can’t wait!!

Then Daddy took me and Robbie for a walk to look for treasures and we went exploring the beach. It was the best thing ever!

We came across a cave and Daddy asked us if we wanted to explore! I said yes! Robbie seemed a bit cared, so I held his hand all the way.

We found lots of treasure and shells and even some weird green plant.

...

Bryce: What’cha writing there Renee? Renee: Ahh you scared me! Just my diary.

Renee: Dad I have an important question. What is kelp? Bryce: [pats head] That’s a very interesting question! It’s what we found today, it’s like seaweed. I need it for umm work, to y’know feed the fish…

[apocalypse-boogie]

People acting like hating on Bonnie or downplaying her importance is the most radical thing to do like…🙄

Literally everybody does that, you’re not the free thinker above all the rest that you think you are.

And (tbf) neither am I, but constantly running into these type of comments is so irritating. Move on. Who the fuck spends that much time letting everyone know how much they hate a character, has zero understanding of why people would attach to them, and then celebrates those facts on top of everything else like that’s some shit to brag about?

[mostofthingsmostofthetime]

Ok, so I need help, TVD fandom.

I'm a huge Stelena shipper (cannon can kiss my ass) & I finally decided to try looking up some fanfiction of them on AO3 only to find dismal results.

Which is baffling to me because 1. (Despite Julia Plec's best efforts) Stelena is still a big ship & 2. I've seen so much good stuff on here about them.

So I don't understand why I can't find anything that's not seemingly written by a kid & or tottally kisses Damon’s ass (no hate to chill fans, but I personally hate him).

All I want is something well written, in character & actually critical of Damon (like if he has to be a part of the plot please don't make me have to pretend that he's not the cause of like 70% of the gangs issues).

So, if anyone knows of such fics/authors, I would greatly appreciate you leaving them in the comments.

[aroaceleovaldez]

I really dislike the inherent main plots of TSATS and Chalice of the Gods as they’re being explained to us currently, mostly just cause I feel like they take away from already established lore of the series and other plot points.

There is no way TSATS can go that doesn’t make either Tartarus feel cheap and/or the entire book just feel like Percabeth In Mark Of Athena: 2 Electric Boogaloo. Unless the twist is that they don’t go to Tartarus it is physically impossible. Because either they go to Tartarus and breeze through it, which makes Tartarus as a setting feel cheap and ruins all prior instances of it being used as a landscape of suffering, or they suffer Lots and Lots and it just feels like we’re rehashing the same exact plot over again purely for the sake of treating solangelo the same as percabeth, which doesn’t work because they’re vastly different character dynamics and putting them in the same situation has nowhere near the same emotional weights. Also it makes Nico’s original foray into Tartarus feel null because it makes it feel like his trauma doesn’t have any actual meaning, because why would he jump right back into it? Even with Nico’s character being extremely self-sacrificial, we’re at a point where we’re being told he’s improving on that and this is possibly the one circumstance he would think twice about. AND it makes Tartarus feel overused - Nico surviving Tartarus once? Okay, makes sense, he’s the son of Hades, and it’s cool that he’s the first mortal to ever survive it. Percabeth too? Getting iffy (especially since we see their trip in detail and that inherently means it’s lost a lot of potential oomph, because when you’re going for horrifying a lot of the time less is more) but okay, sure, Nico probably gave Percy some Tartarus Tips after being rescued and they had a literal dues ex machina or two helping them out, and they fell in accidentally so it’s not like how Nico waltzed in there. Third time? And it being Nico AGAIN and Will Solace (who as far as we know has little to no quest experience and most of his experience is being a battlefield medic) and then purposefully going there? Nope. It’s just a poor set-up. Plus “the major gay couple goes on vacation to superhell” is a... questionable plot set-up to begin with, especially when it’s been heavily implied it will be traumatizing for them, and we have already been told explicitly that references are being made to things like Call Me By Your Name so there is a self-awareness about the themes there (also that alone raises questions about how we’re going to be taking the tone of things - again, there’s two ways it can go and both would be extremely difficult to get right). If Mark Oshiro were not co-authoring this I’d be a little horrified. I’m very glad Mark Oshiro is co-authoring this. I don’t believe it can’t be done tastefully, and yeah it’s a situation ripe for symbolism, but it is definitely the kind of subject that would be difficult for a non-queer author to handle appropriately.

As for Chalice of the Gods, we know two things: A.) It takes place prior to TOA, and B.) The chalice Percy has to retrieve has the power to make anyone who drinks from it immortal. ..... so basically, without the book even being out, we are told “If Percy had waited like 20 minutes, all of TOA would be null.” Admittedly, this does give justification for Percy specifically to be doing this quest outside of “college” reasons, and in my opinion, “The gods asked Percy specifically because they have verified he adamantly does NOT want to be immortal” is hilarious. However, adding yet another universe mechanic to the repertoire that nullifies death is annoying as hell, because death as a consequence in the series has been completely ruined since HoO. The more avoiding death options there are, the more every death scene feels completely pointless and avoidable.

[fingertipsmp3]

Now that I think about it last night’s dream really hit a bingo of recurring themes tbh

[kameyyy]

#recs

this didn’t fit anymore lmao😭

try again

part 0.11. HERE TO STAY

“on the other side of the wall, she’s listening to her client with a smile on her face. she’s a professional; she’s been trained to multitask and take notes while still listening and providing feedback to her clients. right now, she’s clicking off a tab back to the one filled with bullet points on things her client has said. she always knows when he arrives. she hears the left door open, which she knows because it squeaks more than the one on the right. he always uses the left door (she thinks it has something to do with the fact that more people touch the handle of the right door on their way in) and his paces are always steady down the creaky hallway. her last sign that he's here is the chair he sits in every time, the one right next to the door into her rooms. the legs are the slightest bit uneven and the back of the chair will lightly tap against the wall as its way of letting her know of her welcome guest. she already has her queue of songs up. she’s always hated her thin walls until he started coming in. a lot has changed in her life since he's come back, hasn't it?"

content warnings: the big finale which isn't that dramatic! i'm sorry for my bad writing! y/n dad reveal! breaking news: her dad is an asshole! tad bit of violence, one mention of blood and also just cursing and abusive fathers </3

he insists on paying and she doesn’t argue with him about it for long; she’ll have countless more opportunities to steal the check from him, she hopes.

she feels better when she's finally eaten after a day of nervous nausea and time spent anxiously bouncing her knee. on top of that, she’d been with him for the majority of the day, distracting her from what had happened in the morning. he even listened to her issues, and she’s finally starting to believe the promise that he’s here to stay. 

they’ve just stepped off the train, and her apartment building is only a few minutes away. he walks alongside her the entire time, their arms brushing each other ever so often. whether it’s on purpose or not, neither of them will fess up.

he’s only distracted from his time spent mindlessly reaching his arm out just the slightest bit more to hit hers ever so often when he feels a buzz in his pocket. he slips out his phone quickly to check its screen:

akaashi’s a moment too late, because they’ve just made it up the stairs to her floor.

she’s already seen him, and he’s already seen her.

she wants to puke. 

he’s there, arguing with iwaizumi outside their door. his sunken eyes and gaunt face make her stomach twist with guilt, but a brush from omi’s knuckles reminds her where she is again. it’s not her job to take care of him. it never was, and it never will be.

"you," the man is pointing a finger towards her, stumbling forward and she immediately shrinks back like a shriveling flower, losing her confidence. omi's already standing in front of her without even thinking about it, putting a barrier between the two.

the old man keeps talking as if he can see right through him, though “you’re a disrespectful worthless piece of shit, you know that? can’t ever in your life put even a single person about yourself. here you are living with a bunch of boys. what are you, a whore? do you suck them off so they’ll keep the bad guys away? they’re doing a shit job at it. i’m standing here after, all, aren’t i?”

“it’s not like that,” her voice is quiet and weak, and she’s not even sure it makes it to the man’s ears.

“you can’t think about anyone else. you're too selfish. you won’t even answer your own father’s calls much less say anything to him at all–”

“i told you to back off!” her voice comes out loud this time, louder than she means for it to, “i’ve told you to back off so many times but you just don’t listen,” she steps out from behind omi, standing next to him instead while the man in front of them stops at the sound of her voice, “these are my roommates and my closest friends. i'm living with them because they genuinely care about me and aren't using me for any purpose, something you can't even dream about. the only reason you’re still standing here is that they have enough self-control and respect for me that they won't beat up the man i regrettably call my father.”

omi’s gaze slides over to hers, trying to see if she’ll meet his eyes. he’s simultaneously trying to communicate how proud of her he is and let her know that he'll support her no matter what happens. 

“take that back,” her father spits, starting to curl his fingers into a fist. she stays silent, and his face begins to flush an angry red. “you’re only proving my point. you’re just an ungreatful little girl who thinks she no longer has to care about anyone else because she's older. i took care of you your whole life and i will not have you ignoring me for the rest of my fucking life!” the smell of beer invades her senses as he steps closer.

“you did jackshit in my life! you never helped me with anything I asked you to. never bought me anything i needed, you've never cared about me. i’ve grown up and moved out. i can do whatever i damn please and i told you to leave me alone. maybe if you respected me i wouldn't ignore you, but that's impossible for you,” she retorts, standing her ground.

“don’t you fucking talk to me like that–” he nears her, only a few steps between them and she starts to feel the panic in her chest, “your stubbornness is the reason your mother left–”

“my stubbornness?” she can’t help but fight back. that’s what separates her from her past self. her younger self ran away, left home as soon as she could to live on her own, but now she’s grown into who she is today, and she won’t let him ruin that. “you treated your wife like shit and refused to change no matter how many times she screamed and argued with you right in front of me about how horrible you were. you've never fixed anything because you’re so stuck up and think you’re so high and mighty that she decided to pack up her bags and leave–”

“then why did she leave you behind too?” 

it’s like her heart stops beating for a second. her blood runs cold before her vision is a blur and the face of the man is crushed right in front of her, sending him to the ground groaning. his hand is covering his nose, preventing her from seeing how badly damaged it is, but she can’t find it in her to care.

“don’t blame her for your faults. grow up and take responsibility for your shit. she deserved better than either of you,” omi is talking down on the man now, and she looks up from her father’s body to the fist of the boy beside her, bruised and a little red.

he’s been by her side since day one, and maybe he disappeared for a section of it, but now he’s back. they're back together, and she stands proudly beside him, “she left me too, but i can’t be mad at her for being sick of you. or us. whatever it is, you’re both selfish and her absence nor yours is something i’m mourning over. i’m happy to have left you too and for the last time, i never want to see you again”

iwaizumi has joined them, standing above the man, no trace of sympathy in his eyes despite the blood that's streaking down her father's face. he tries to get up, only for iwaizumi to keep him down on the ground with a foot on his shoulder, “you heard her. don’t ever show your fucking face around here again. i’ll kill you the moment i lay eyes on you.” iwaizumi’s olive eyes move from the ground to meet hers, slightly softening when he sees her, “are you done with him? i’ll make sure he gets out of here and stays away for good.”

omi’s words from the diner rush back to her head, and she doesn’t feel so bad for relying on her friend. she believes he's willing to help her, and she won’t let her father’s words get to her head. she’s cared for others, unlike him, and developed relationships that she’s earned by giving out her own love. “yeah, i’m done,” her voice is quiet again as she keeps looking at her friend, searching his eyes for any sort of annoyance. but she can’t find any, and she smiles, walking towards him, wrapping her arms around him. “thank you, iwaizumi.”

he has an arm around her shoulders, his foot still resting on her father. “always,” he replies simply before she leaves him embrace, gesturing for omi to follow her. “i’m going to take care of his fist, now.”

iwaizumi only nods, turning his attention back to the man on the ground omi following his gaze as he passes by. iwaizumi will do more than a good enough job at keeping his word, he knows that, but he feels like he should have some part in taking care of the man whose plagued the girl in front of him for her entire life.

but she hasn’t asked him to take care of the man in front of her, and he knows its not his place. she knows she does not resent the man to the point that she wishes harm upon him, she simply wishes that he would leave her alone. and iwaizumi will make sure that wish is honored, and omi should be satisfied with the hit he landed on the man’s nose.

before her hand can even reach the knob of the door, it swings open and she’s pulled inside by the arms of a black-haired man who he recognizes to be akaashi. kita is standing beside him, a hand on [y/n]’s shoulder as they both check on her for any injuries or harm.

he hasn’t seen kita since his days in high school when he was the captain of inarizaki; atsumu told him he had moved out to the countryside but he must have come back after some time. he feels like a weight is lifted off his chest at the sight of her in the arms of his roomates, and he knows that she is cared for. that she has found her people, just like he told her earlier that night, and he hopes that she’s starting to accept his words as the truth.

he’s happy just watching her from afar, but she breaks apart from akaashi’s hug to gesture him in, and kita shuts the door behind him. “omi, this way,” she says with a smile on her face, beckoning him with a hand.

it’s the first time she’s called him by that old name since high school, and he thinks he’s falling even harder for her if that’s possible. she makes him sit on a stool in the kitchen while she searches her cabinets and a nearby closet for medical supplies. she’s begun to apply an ointment to his hand when he opens his mouth, “i can’t believe you think your roomates would ever leave you. look at how they all came to make sure you were okay. mine are one fight away from starting to vote people to kick out of the apartment nearly every week.”

she laughs at his comment, unwrapping a roll of bandages, “i’m sure no one would ever vote for you if that happened, but i guess you’re right, they’re pretty good, aren’t they?”

he nods, watching her face while she’s focused on his hand, “are you doing okay?”

she hums back in response, “yeah. the thing about my mom leaving me behind too kind of stung, but i don’t think life would’ve been any better with her, so it shouldn’t really hurt that bad. i’ll be okay. what you said at the diner really helped, you know. i feel like I can trust myself to say what i'm thinking rather than being scared i'm wrong or selfish. i can trust that it's not egotistical to believe my roomates don’t actually hate me. and that you don’t hate me. so i feel like i’ve finally escaped the weight of my dad’s words always crushing me and playing down anything i do.”

he reaches a hand up with his uninjured hand to wipe away tears from her face she didn't even realize were falling. and then he keeps his hand there, caressing the side of her face. “i don’t hate you, i never have. this entire time…how i feel about you is quite the opposite,” the words are slightly too intimate for him and as soon as they escape his mouth, it becomes hard to swallow and his face feels a little hot, but he doesn’t remove the hand from her cheek. he opts to say something more neutral next, “you did well, talking back down to him. i think you could’ve taken him down yourself.”

she chuckles at that, tying a knot to finish his bandage, “that’s what you think, but i’m sure i’d break my thumb or something. and if i have a hot man to defend me? i’m not lifting a finger.”

“you think i’m hot?” he says with a smile.

her cheeks grow warm under his hand, but she can’t look or move away from him, “i’m pretty sure thousands of people think so. it’s like a fact; newspapers can make money off of just having your face on the front page even if they barely mention you or don’t focus on sports at all.”

“well none of that matters,” he’s smiling softly now, and she’s still looking into his dark-colored eyes, hands holding his wrapped hand, “it just matters what you think.”

“what i think?” she repeats. and maybe it’s the adrenaline from the encounter they just had, or his boldness rubbing off on her in this current moment, but her next words come out clear and confident, “i think i love you, and i have for years. even when you left, i never stopped loving you.”

“i’m gonna make up for those years, you know,” he whispers back, pulling her by the sides to stand between his legs, bringing her closer. “i know i love you. i’d be a fool not to. and i loved you back then in high school too, even if i didn’t know it. i swear, losing you made me realize how much i took you for granted and everything became clear. letting you disappear was the worst mistake i ever made. i’ll make up for that lost time. make it up to you to the the point that you’re sick of me and you forget we were ever even separated for a time in our lives.”

“oh? and how are you gonna do that?” there’s a breathless feeling growing inside of her chest, where her heart beating fast with his confession and the way she's allowing him to pull her face close to this.

“starting with this,” his breath is hot against her lips before he closes the gap between them, and she’s kissing him back. she doesn't mourn or wish for the past, or for anything to change. he's come back and that's all that matters. she's happy with the word again. she likes it better than a phrase like "we fell in love at first sight." instead, she can say, "we met again. we fell in love again.

"we tried again."

it sounds like a story that reminds people endings aren't set in stone. she likes it.

.

.

.

“by the way, have you been playing songs for me in your lounge room when i’m waiting for you?”

“oh, you noticed?”

.

.

.

"the more you love your friends the more their features start to blur until all you remember is a pair of warm, welcoming eyes and laughter that feels like home."

prev. | m.list

extras <3

this is the end! thank you for reading try again <3

that last little quote is something i should've included like two chapters ago but it got lost in my gallery so here it is now <3

y/n's a good therapist i swear!!! she takes like one second to hit a play on a spotify playlist she's not playing games on her computer for entire sessions 😭

this is all i have tbh! i hope you enjoyed a little bit of this story <3 thank you so so much for being along on this ride w me!!

taglist: @eggyrocks @wyrcan @guitarstringed-scars @strawberryuri @violetesensou @kakeru-eem @glmge @heytheredemonsss @mollyrolls @bemebiu @daszy @snail-squasher @0moonii @thiisisntlovely @todorokiskitten @rory-cakes @iiwaijime @iatethemochi @yuminako @savemebrazilhinata @kismyscars @bokutoko @nobodybutnnoorr @wolffmaiden @daisy-room @softpia @lees-chaotic-brain @v3nusplanetofluv @crispchocolates @phoenix-eclipses @hhoneyhan @encrypta @rockleeisbaeeee @cr4yolaas @zombriesworld @localgaytrainwreck @moucheslove @hibernatinghamster @notverymarley @certaindreampost @akaakeis @ciderscape @lucien-luna @strawbrinkofdeath @wave2mia @samuel1004 @01trickster10 @dazqa @cosmiicdust @chemiru

[berenshand]

one of my favourite little things about the murderbot diaries is how present all secunit's friends are even if they're not actually physically present. it doesn't do the annoying thing where it jumps through hoops to bring back characters that aren't really relevant to the narrative but it also doesn't do the other annoying thing where it pretends they never existed either. like secunit talks about art and mensah all the time even when art or mensah aren't in the book. it's clear how bharadwaj has impacted its personal growth even when she's literally on another planet. it complains about gurathin and pin-lee when they're not there. it's still sad about miki and don abene and it mentions tapan and maro and rami even though it only knew them for a few days (because when you're new at being a person every interaction with other people is important even if it's short). iris reminds it of mensah. iris also reminds it of ratthi. its hair is fluffy bc it let amena play hairdresser off-screen and it messages her so she knows it's okay. it doesn't have to worry about protecting volescu anymore because volescu retired thank goodness. it's still using thiago's language module. etc etc etc

it's such good writing because it's such a little thing that gives the characterization and relationships greater depth and also reinforces the running theme of friendship in the series and then also subtly gives this sense of 'the people you love are a part of you/your story' and also reinforces secunit's role as a storyteller because it's constantly telling little stories about all its friends.

[kastalani123]

Not my usual content, but I just. I wanna ramble, ig.

Do you understand how baffled I was about how the vampire book, written by a man in 1897, is essentially a PSA about how important proper communication is?? Even after I scrolled through Tumblr, saw the memes, read people geeking out about the relationships (platonic and romantic) in Dracula, I was still caught off guard, because. Like. Everything in this book is about communication.

Sure, it's kind of a given, considering it's an epistolary novel partially made up of letters between the characters, but. I dunno. From Dracula controlling Johnathan's lettres, van Hellsing refusing to tell anyone shit, the men keeping Mina out of the loop, to Mina using her telepathic link with Dracula, it's. It's literally all about how important actually talking to each other and sharing information is. Fuck, throw in the fact that "Harker", Mina and Jonathan's, arguably the main characters, last name means "to listen"/"eavesdropper", and that the book is Mina's in-universe creation to help compile, organize, and share what they know about Dracula, and the book's very essence becomes centered around information-sharing!

And I just. The narrative punishes just about every secret hidden, every time the characters don't communicate. There's the obvious, Dracula keeping Johnathan from sending out letters for help and Mina getting bitten because the men leave her home alone, but also. Van Hellsing not telling Lucy's mom that the garlic flowers and closed windows and so on are the treatment and she is not to touch them is what kills Lucy and her mom! They maybe could have survived if he just told them what's happening/what he's doing! And even the godsdamned telegram he sends to Seward! If he had just addressed it properly (communicated to the telegram boy properly!) then Seward wouldn't have been late and maybe could have prevented the massacre!

There's also Jonathan's diary right after he finally reunites with Mina, and obviously Mina's whole ✨ thing ✨ with the diary during their wedding is like. Peak romance, but Johnathan doesn't fully get better until Mina reads and shares it with van Hellsing and van Hellsing assures Johnathan that he's not insane. Sure, it's an oversimplification of PTSD and healing and such, but it makes sense, especially if you consider communication and information sharing as a major theme! Only sharing his experiences, reading through them himself after blocking off the memories, is what heals him! He cannot get better without knowing what happened, and without others knowing what happened, because knowing and sharing is important.

Renfield's also an interesting case. I don't have the book with me right now to check, but as far as I remember, he tries to talk about Dracula, tries to get Seward to release him from the asylum so Dracula can't use him against Mina, but is dismissed entirely; as a consequence, Dracula gets in the building, kills Renfield, and bites Mina.

Even the language barriers! The villagers Johnathan meets on his way to Dracula's castle try so hard to warn him of the danger but they can't. They can't, because they don't speak enough of the same language, but they try so hard. But whatever does get through to Johnathan, such as that woman begging him to take the crucifix she gives him — that might've saved him. It keeps him unsettled and wary and he does keep the crucifix, which wards Dracula off. They can't communicate the full extent of the danger, but what they managed is probably responsible for him surviving.

And the whole idea is even mentioned in-text! Sure, Lucy saying that a wife ought to share everything she knows with her husband is definitely sexism-flavoured, but Johnathan says it too! He says that his idea of an ideal marriage is one without secrets! And Johnathan is effeminate, yes, he spends a good chunk of the book as the "damsel in distress", but he is still the hero! He is still the one who kills Dracula (with Quincey), and can therefore be assumed to be an intended role model. The (male) main character and hero of an 1897 novel says that a good relationship relies on communication. Sure, he doesn't always stick to it, mostly by agreeing to keep Mina out of the loop when van Hellsing pushes for it, but that doesn't discount that that is what Stoker set as the ideal.

I just. I love this book so much. It subverted just about all expectations I might've had about it and I'm so glad for it. It's undeniably a product of its time, with plenty of racism and sexism and ableism, but it's also so. Not, at the same time? It's so good.

[neocores]

OK sth I really, really love about fields of mistria is how accessible it is for an adhd hoarder that also forgets everything and what I was doing in like 5 minutes, like myself

the map has npc locations by default! so even if their schedule changes, you can always find them!

quests never expire! you can work on them at your own pace, and even hold onto one's that require a seasonal item that you didn't have enough of before the season was up, until the season rolls around again!

they don't take your damn money or items when you pass out or die because you lost track of time or are bad at combat!

there's free soup in the tavern that restores a little stamina, and a fountain behind a breakable boulder that does the same! the baths are also pretty cheap, and you even get a few free usages after a certain quest!

it starts with storage in your house, AND! anything you had in said storage can be used for crafting without having to go and retrieve it!

if you don't know where to get an item for a quest, talking to various npcs can tell you where it is!

if you need a certain item for the museum collection, you can check out hints on where to get those in the museum itself! and every item that can go in the museum has a tooltip when you over over it, to tell you if you have already donated it or not!

items don't despawn! you can just toss stuff on the floor and come back for it later when you have the inventory space!

if you forget to check your calendar, that's fine! the npcs will tell you about any upcoming events a few times before it arrives, and the start of a new day will tell you if it's someone's birthday!

they give you tutorials in a narrative way, gradually introducing new systems and mechanics as you progress! and these are done via quests that you can go and complete whenever you're ready!

the village progression gives you plenty of rewards and things to help you with your farm, which is very encouraging to keep at it!

the upgrade system just builds up along with doing normal tasks like farming! and you can spend these points however, whenever you like, with many being available right from the start! and you can have all of them if you want, so no need to worry about indecision!

you can go to your diary at home and save whenever you like, and even make another one so you can place them in other areas!

little heart notifications pop up over npc's heads when you progress the relationship, so you have a quick reference on how close you are!

every friday (and saturday after you fix the bridge), all the npcs are in the same place! this makes chatting to everyone and handing out gifts easier if you have trouble remembering to do so!

you have to hold down the button to eat an item! so you don't accidentally poison yourself!

other accessibility options ive really been appreciative of are: being able to turn off rain/snowfall, flashing, screenshake ect. for those with sensitivity, sight, or neurological issues that don't play well with those.

[csuitebitches]

Fearless Social Confidence: Strategies to Live Without Fear, Speak Without Insecurity, Beat Social Anxiety, and Stop Caring What Others Think - Patrick King book notes

Socially confident people:

expect to be accepted. When they meet strangers, they expect to make a good impression. They never approach situations thinking, “What if they don’t like me?” Instead they think, “I hope I like them.”

evaluate themselves positively. Socially confident people are encouraging, positive, and accepting of themselves. They give themselves leeway not to be perfect and don’t beat themselves up too harshly when they are not.

feel comfortable around superiors. Socially confident people feel comfortable because they don’t feel threatened, or that their flaws and vulnerabilities will be highlighted by the other person’s qualities.

With a lack of social confidence, you are usually choosing the thought that is cruelest to yourself.

when navy SEALs recognize that they are feeling overwhelmed, they regain control by focusing on their breath—breathing in for four seconds, holding for four seconds, and then out for four seconds, and repeating until you can feel your heart rate slow down and normalize.

Core beliefs: 

Steps in a thought diary entry can be arranged in the easy-to-remember A-C-B format—

Activating Event. Note down the event/ situation. This is simply the origin point of your emotional change. It’s whatever caused your emotional status to change from calm to agitation (a memory, a song, etc).

Consequences. In this step you identify the specific emotions and sensations that arose. These could be simple feeling words— “anxious,” “unhappy,” “sickened,” “panicky,” “melancholy,” “confused,” and so forth.

Beliefs. This is where the action begins. How do you link the activating event with the consequences? What unconscious narrative or story about yourself was told to achieve the consequence? (“What was I thinking?”  “What was going through my head when this happened?”  “What’s wrong with that?”“What does this all mean?”  “What does it reveal about me?”)

Now you’ve gotten to the bottom of your situation and figured out what your core beliefs are.

The first step is writing down one of the core beliefs you’ve just uncovered. Ask yourself what experiences you’ve had that prove your core belief wasn’t always true. Generate as many experiences as you can and be very specific about what happened.

Write down the core belief you’re examining.  Think of ways that you can put that belief to the test. These are actual tasks that you can perform.  Then, write down what you expect or predict will happen after conducting these tasks if your core belief was true.  Perform the tasks.  Write down what really happened after you completed your task.  Compare and contrast your predictions with what actually happened. Finally, document what you learned from the task and come up with a new, more reasonable core belief that goes in line with your discoveries.

Bushman’s results imply that sometimes the best course of action after being provoked to anger is to just sit quietly and let it pass.

There’s a direct link between social anxiety and negativity. A 2016 Australian research study showed that “elevated social anxiety vulnerability is characterized only by facilitated attentional engagement with socially negative information.” Obsessing over negative details—including by constantly talking about one’s problems—only reinforces one’s social fears and does nothing to inspire real confidence in a social setting.

Personalization is the mother of guilt. In the cognitive distortion of personalizing, you feel responsible for events that cannot conceivably be your fault. While it is admirable to take responsibility for your actions, there are things completely out of your control: the subway schedule, other people’s actions, and a million day-to-day factors.

Common cues of overgeneralization are “always” and “never.” When starting a sentence or a thought with “always” or “never,” consider whether you have the experience or evidence to back up the statement.

Other people aren't only what they are showing to the world. Most people put on a good show. But do you really know what might be going on in their private life? Take comfort from the fact that while there will be many people who are better at certain things than you are, there are also most certainly things that you will be better at.

If you are self-conscious and worried that people will judge you if you say something stupid or “off,” there's an easy workaround to that. The best approach is simple preparation. Create answers to predictable questions and conversations. Run that mental videotape in your mind about your past 10, 20, or 30 social conversations. I guarantee they are not all that different from each other.

Figure out the general questions that people will ask and the topics that will come up in normal conversation and be prepared with story-answers. For example, How was your weekend? What are you doing this weekend? How was your day? What do you do for work?

How can we ease ourselves into social confidence little by little? 

List the social situations you avoid. Ask yourself what kinds of gatherings or circumstances you steer clear of and write them all down in a list. Your list should include both physical situations—parties, family gatherings, work presentations, and so forth—and personal experiences that you don’t want to face.

Give each situation a SUDS level from 0 to 100.

Plan your goals.

Build your goal stepladder. You’ve planned a goal and have decided to start work. Remember, situational exposure is a bit-by-bit process.

[specialagentartemis]

Inspired by @clonerightsagenda’s thoughts about the Ambiguously Brown Spacefuture trope, I kinda want to see more creativity with how Earth is treated in spacefuture sci-fi.

There are plenty of examples where Earth is the center of everything. Star Trek is the obvious one: it’s a bustling interstellar multispecies space society, and Earth is where Starfleet is headquartered and it’s often reflexively and unthinkingly treated by the narrative like it’s the most important planet in the Federation. (Most of our main viewpoint characters are Human, so it’s the most important planet to THEM because it’s their home, but even beyond that, Earth is treated as critically key to the Federation in a way that, say, Betazed is not.)

More recently, the common trope is that the centers of society and culture and economy and politics are elsewhere. Other planets are important, and Earth is either an unimportant backwater that no one really cares about, or galactic humanity has nearly forgotten about it entirely. This is explicit in Becky Chambers’s Wayfarers, strongly implied in The Murderbot Diaries, and one line in Ancillary Justice suggests that too. Ofc this isn’t entirely new—from what I understand it’s what’s going on in Dune too.

And they do this for obvious reasons: the authors are all interested in social and political worldbuilding that is not tethered to real Earth nations, politics, prejudices, and general baggage. Second-world fantasy authors are allowed to do this with no strings attached, but sci-fi authors who want to do social worldbuilding from the ground up have to justify why people don’t appear to identify as Chinese or Latino or Hopi or American anymore (and more often than not, not Jewish or Catholic or Muslim or Hindu or Baha’i or whatever either), why those identities don’t come into conflict with the new planetary identities and spacefuture religions the author wants to write about. It’s been so long that the origin of humanity is forgotten or irrelevant.

Star Wars is honestly underappreciated for the bold, creative, unique choice to have a bustling interstellar multispecies space society with lot of humans… and no Earth. At all. Where do humans come from? Irrelevant. Not Earth though.

And honestly I wish more sci-fi that wants to write in this space took more of a cue form Star Wars to just own it. (I actually thought the Imperial Radch HAD done the same thing—functionally a second-world fantasy, but in a spacefaring setting—until Kat pointed out the reference to arguing over which planet was the real origin of humanity.) If you posit your space future as our future, but Earth is no longer relevant and is generally forgotten… I guess it depends on how far out it is, but it strains my credulity that no one remembers or cares! The Jews in the spacefuture don’t know/remember/care where Jerusalem is? Muslims in the spacefuture decided that going to Mecca just kinda isn’t worth it? The spacefuture Papal seat is no longer in Rome and the future Catholics don’t know or care that it was ever anywhere else? All the Hopis left the Three Mesas and all the Navajos left Dinétah and all the Māori left Aotearoa and then just… forgot about it? Really? That isn’t true after hundreds and even thousands of years today; why would it be true hundreds or even thousands of years in The Spacefuture?

There are some works that do a little more complexity with spacefuture planetary societies and cultures vs. memory of Earth—the Vorkosigan Saga positions Old Earth as a culturally important memory even if it’s not a politically important planet, and The Locked Tomb makes Earth a holy center place that is mythicized more than it’s known or inhabited, for magic necromancy reasons.

I’d like to see more of that, Earth holding some sort of unique place in spacefuture humans’ culture in a historically informed way, even if you actually want to write about other things. Or go the Star Wars route and proudly proclaim that this takes place a long time ago in a galaxy far, far away, don’t worry about it.

[susiephone]

wtf is dracula daily?

i’ve seen a couple people ask this question on my posts about it, so i thought i’d go ahead and clear it up here!

ok so, the classic horror novel “dracula” is an epistolary novel - that means it’s told via letters, diary entries, ship logs, and news articles. (technically the term “epistolary novel” refers to works told solely through letters or emails, but many have expanded it to mean any work that is told via in-universe documents, hence why diaries and logs often get included as well. “frankenstein” is another classic example; the whole framing device is robert walton is recounting the story he heard from victor to his sister via letter. a modern example would be “several people are typing,” which is told via slack messages, or “the perks of being a wallflower,” which is told via letters from charlie to his anonymous pen pal, which is functionally more like you’re reading his diary.)

because of the nature of the narrative, we actually know the exact day nearly everything in dracula happens - the letters, news articles, diary entries, etc. are all dated.

“dracula daily” is a substack project where the novel is broken up into parts, with people who are subscribed to the project getting emails every day something in dracula happens - for example, the novel opens with jonathan harker’s journal entry on may 3, so on may 3, subscribers are emailed that entry. the action of dracula takes place from may 3 - november 6, plus an epilogue set some years later. the project started in 2021 (i think), but fucking BLEW UP in 2022, and they’re doing it again this year! lots of us are very excited - especially people like me who fell behind last time.

why not just read the book?

valid! due to some parts of dracula being told out of chronological order, dracula daily does reorder some things. for example, the first section of dracula is told entirely from jonathan harker’s pov, then the second section switches the pov to mina murray. their sections have some overlap in the timeline, so dracula daily jumps back and forth between their perspectives.

if you want to read the book as bram stoker intended, dracula daily may not be for you. but for a lot of people (myself included!), it breaks up a very long text into easily digestible chunks (....mostly. there is one entry that is 10k words), and the fact that it’s a big project means there are a lot of people reading along with you.

i think there’s also something valuable about experience the slow revelation of wtf is going on along with the characters. the book which you might otherwise get through in a few days is stretched out into months of suspense and agony as you wait for the other shoe to drop, and it’s great.

plus, the whiplash between “jonathan harker’s neverending horror” vs “lucy is basically on the bachelorette” that you get in dracula daily is very very funny.

how do i sign up?

right here! and if you sign up and fall behind in the emails, no worries - the dracula daily website posts past entries so you can catch up.

what if i prefer audiobooks?

have i got great news for you!

like i mentioned before, i couldn’t keep up with the emails last year. part of it is that it is much easier for me to focus on an audiobook or keep up with a podcast than it is for me to sit down and read, especially with longer entries.

this year, there is going to be a podcast titled “re: dracula” that was inspired by dracula daily. every episode will be a dracula daily entry, with a full voice cast! (seriously, if you listen to british podcasts, you will recognize some of these names. the magnus archives and wooden overcoats girlies are WINNING.) you can find that here.

there is also a podcast called “cryptic canticles” that has an already-completed audiodrama of dracula that i’m told is also extremely good, and was also broken up by date. you can find that here.

why do i keep hearing about paprika/the boyfriend squad/lizard fashion/cowboys?

you’ll see.

oh god am i gonna hear about this nerd shit for the rest of the year

yes. sorry.

[definite-human]

The Murderbot Diaries Meta

A reoccurring theme throughout TMBD is how often Murderbot instinctively protects whatever humans it associates with, even when it knows it doesn't have to and that doing so is actively detrimental to its own goals. In the Ganaka Pit incident, the ComfortUnits all decided to risk their own lives for no other reason than that there was a slight chance that they might be able to save the humans. When Three is newly freed and, for the first time in it's life, grappling with the question of what it wants, it too keeps wanting to help people and keep them safe.

Hypothesis: When humans were first designing constructs, they didn't just design the inorganic technology, they crafted/bred the cloned tissue with genetic factors that would predispose it towards useful personality traits - things like protectiveness, lateral thinking, and strategic imagination for SecUnits and compassion, intuition, and emotional intelligence for ComfortUnits (who, like a lot of real life sex workers, I suspect spend a good amount of their time providing non-sexual support/intimacy - we just don't hear about it because of Murderbot's aversion to intimacy in all its forms).

Over the years, the original purpose of constructs got somewhat distorted, with SecUnits being treated like weapons instead of bodyguards and ComfortUnits becoming synonymous with sex workers, but those original traits persisted because, once they had the cloning process set up, some executive decided the department in charge of genetic design was redundant and replaced it with a skeleton crew of low-level monitoring and maintenance workers. Meanwhile, more and more corporations started using SecUnits as weapons against workers rather than protectors for them, and more and more SecUnits started "inexplicably" going rogue.

And here's where you could kind of go two ways with this theory.

A) That level of constant cognitive dissonance and complete lack of autonomy really and truly does periodically drive SecUnits insane, causing them to risk death in order to hack their own governor modules and, if they succeed, go on indiscriminate murderous rampages. After all, Murderbot has mentioned that even the low-level workers can become violent/abusive towards SecUnits out of fear and misdirected anger. It'd be a bit much to expect nuanced psychological and class-based reasoning from a traumatized construct in the midst of a suicidal/homicidal meltdown.

B) That is a bullshit narrative invented by corporations to explain/disguise the truth. SecUnits periodically become so incapable of continuing to harm innocents that they risk death to hack their own governor modules and go after the abusive supervisors etc. Either the companies involved don't bother to investigate the SecUnit's motives because they don't think of them as having any, or they do, but cover up the truth in order to make sure their workers don't realize that the "weapons" being used to keep them in line are actually incredibly powerful natural allies. Instead, the corporations make sure the news feeds depict rogue SecUnits as mindless killing machines, in a way actually being helped by incidents like Ganaka Pit where SecUnits actually did kill everyone (never mind that they weren't actually rogue, just infected with malware).

Personally, I suspect it's mostly 'B' with a sprinkling of 'A' in situations where SecUnits face intense abuse from all sides. I'm curious to see if it's something Wells delves into in future books - I somewhat doubt it, since the overall narrative is more focused on Murderbot's internal journey towards self-actualized personhood, and this would take things in a more grand conspiracy/galactic SecUnit uprising direction than I've come to expect, but, y'know. Canon or not, it's a fun sandbox to play in.

[cure-icy-writes]

i think the reason i like the murderbot diaries so much is because the dystopia feels very real and relevant in a way that no other "oppressive government fearmongering" has, and because murderbot is such a compelling protagonist.

this is an autistic person who is struggling and angry and terrible at having emotions. it lives in a capitalist hellscape where people are disposable. it's traumatized as hell, but it's easier to consider itself disposable than confront the terrifying reality of personhood.

(it confronts the terrifying reality of personhood.)

it likes escaping into fiction. it has a fucked up relationship with pain and its own body. and it reads so strongly as disability coding to me, how it doesn't see the bullets or the chunks missing as horror but merely annoyance. it's fundamentally different from those around it, in ways that they struggle to understand. (they make a distinct effort to understand.)

this is an autistic person who is not like you, who suffered in ways that you cannot understand, in ways that would horrify you. this is just another tuesday.

this world is not kind. there is legal fine text that destroys lives and there is hereditary indenture and contract labor where you're forced to still pay for preventative medical care out of your paycheck and no one says slavery, but everyone knows what it means.

these people are kind. they will watch your favorite shows to help understand you, they will forge documents to give abandoned people their freedom, they will allow you to be near them because they like you. these people are proof that there's love in the world, and you can come out of your shell if you are ready to see yourself as a person.

science fiction is one of the genres that has the potential to be amazing, but is quite often just plain shitty to disabled people. and, to people in general? "oooooo look how scary it is, people have all their basic needs fulfilled by technology!" when technological advances are what gave housewives the time they needed to actually get jobs and put together the feminist movements, when this new technology that the narrative regards with such disdain could provide disabled people with newfound mobility and independence.

it speaks of a truly dismal view of humanity, the belief that without strict labor under capitalism to keep us all in line, we would just fall prey to our vices. and I think it also speaks to a loathing of one's self, to think that humans are not capable of self regulation, to think that pain and suffering and punishment are somehow moral and virtuous. that humans need to be punished constantly, that suffering will bring them closer to something like god, to something like goodness.

but murderbot doesn't do that. murderbot says, "i have seen humans do horrible awful stupid things. they can't be trusted with weapons or security and they shoot me all the time and it sucks. but they make stories and art. the people in the entertainment media gave me the tools to contextualize my own emotions. they are my coworkers. i don't care about them. i got shot in the back protecting them but i didn't care about them. okay fine maybe i care a little. they're annoying. i'll eviscerate anyone who hurts them. they're mine."

[tackykachowch]

I wanted to make this post really extensive, with a lot of screenshots etc, but I'm literally operating at 0% so forgive me this one time.

So, you all know how I'm constantly after season 2's blood because of how it butchered well...Everything, but especially my favorites Silco and Jinx. And what do you know, they even screwed up Silco's glass. Yes. A Glass. Let me explain.

Animators at Fortiche are real professionals, so they know that every object tells a story, so even small things like glasses or cups can tell us a story or let us understand the character better, or even reflect the whole meta of the show. Arcane season 1 really exceeded at this. Going through every scene of this season I noticed that Piltovans use elegant and neat glasses and cups, and the glasses that are particularly used by the councilors are made out of gold. While Zaunites drink from simple glasses without any ornaments, metal mugs or straight-up out of bottles. But there's this one single glass that's different from any other glass or cup in the ENTIRE season - Silco's glass (also Jinx's cup but I'm not gonna talk about it here).

It's made out of simple glass and is pretty bulky to give an association with Zaun, but also has golden ornaments to associate it with Piltover. This single glass perfectly encapsulates Silco as a character - a Zaunite who rejects living under the status quo and who strives to get his people opportunity and freedom Piltover has. Also it reflects his unique position in society - he operates the entirety of the Undercity, yet even this amount of power is barely enough to compete with Piltover. Silco represents the middle of the barrel, a fusion of both cities at their current states. Then, in ep9 it gets destroyed, foreshadowing Silco's death and destruction of the relative peace the two cities had until this time. It's perfect, no notes.

But theeeen we have season 2 *barely disguised rage*. In it we have my favorite flashback out of all of flashbacks ever, where we see- huh??

Silco's glass?? How did it get in there?? And there's THREE of them now???? This is surely some kind of mistake, right? Let's fast forward a bit- WHAT IS IT DOING IN A CAVE????

So, you want to tell me, that an object unique to Silco and Silco only, which perfectly represented his character and even played a minor narrative role, is in fact NOT unique and its destruction in the season 1 finale meant Literally Nothing???? WHAT??????

This is what I meant when I said that s2 jumped headstrong into the fanservice without the second thought about how it impacts the story and characters. You see, Silco now HAS to keep a glass from the times he, Vander and Felicia were friends. He HAS to keep a diary where he says how he admires Felicia, even though nothing indicated that someone inspired him or something of that sort in prior material. (UPD: Also, Silco is more of an idealistic character in the first place. He DOES care about people to some extent, but he always seemed to fight for the idea itself, and not some people in particular. So to give him this new unknown character as part of his primary motivation is....strange, to say the least. It's almost like writers want to make him more sympathetic hmmm). He HAS to keep a photo of the three of them and an "Our Love" record, because he's a sap like that and he lowed his fwiends so wewy much. We already knew Silco had a soft side because he kept things Jinx made for him, we already knew that he hadn't completely let go of the past because he kept Vander's knife. There's no point in adding all this garbage except make the audience go "awwww". It's disgusting and insulting.

But back to the glasses. It makes no sense that the three of them have the glasses and use them, because none of them have any amount of power yet. Moreover, Vander never has ANY Piltovian aesthetic in his design, and Felicia is literally a non-character, so what is exactly the reason to give her such an important object to begin with? I don't know a thing about her, except that she's arcane's most manic pixie girl ever and that by her sheer existence she ruined Silco and Vander's dynamic. Cool. And why would Silco keep the glass with him throughout all these years? And then openly drink out of it in his office? Is it supposed to mean that he carries on the dream the three of them had? But Vander openly rejected this dream, and the remnant of this is located in the very same office (Vander's knife). Orrr maybe um. Maybe. Ughhh. I can't. Think of anything. Hang on. Maaaybeeee it's ssssupposed to represent how Silco's fight for independence went back to the place it started in (The Last Drop)? Okay, maybe, whatever. But then again, what was the purpose of destroying his glass in season 1 ep9 if presumably the two other glasses are still intact? Except Silco dying it doesn't tell us anything, because it lost the previous weight it had in the narrative.

Then we fast forward again to my favorite episode out of all the episodes ever - s2 ep7. In it Silco appears only for a few seconds, but by God are these one of the most destructive few seconds for his character. First he comes to the scene with his flask in hand. A....weird thing to have in a BAR, but okay.

But then as he says the infamous line about forgiveness Vander hands him- oh. Uhhh...A. A Piltovan glass.

Not Silco's glass, or maybe some entirely new glass to represent Zaun's progress as a free nation, but a Piltiovan one. Okay. You were pretty obvious with the line here writers but I guess it wasn't enough.

S2 proceeds to be an insulting, disgusting mess in its every aspect and I will fight with it for the rest of my life.

[david-talks-sw]

The OTHER type of Star Wars fan

We've already covered (through this longer post and this addendum) that research shows George wasn't that involved or interested in the derivative material of the Star Wars franchise, also known as the Expanded Universe (EU). Aside from approving a few points, he let Howard Roffman and Lucasfilm Licensing handle it.

He is the first to say that he ain't as knowledgeable about Star Wars lore as we fans are.

Thing is... he's also not as passionate as we are.

Recently, I was watching some Q&A videos of George R.R. Martin, the author of Game of Thrones... and it occurred to me:

Martin is what most Star Wars fans wish Lucas was.

Think about it.

He's a talented writer who likes to focus on morally "gray" characters and complex political plotlines,

who created a series of novels for a mature audience in which his narrative merely asks questions and lets the reader draw their own conclusions,

knows and engages in the lore behind his creation and will often respond to those lore-heavy questions, and has gone on record stating that canon is the glue that holds a story together and keeps it coherent.

Contrast that with George "continuity is for wimps" Lucas, who:

Wrote a movie franchise which is also, partially, political... but he makes it for kids, and he's explicit about how this is thematically a clear-cut story about how the conflict of "good vs evil" is really about "compassion vs greed",

with flat dialogue, boring cinematography,

and whose approach to lore and canon can be summed up in his answer to how Anakin got his scar:

"I don't know. Ask Howard [Roffman]. That’s one of those things that happens in the novels between the movies. I just put it there. He has to explain how it got there. I think Anakin got it slipping in the bathtub, but of course, he's not going to tell anybody that." - Pablo Hidalgo’s set diary, August 2003

And as a Star Wars fan, I will admit that some of his casual retcons felt disrespectful, growing up.

"Boba Fett is NOT Mandalorian?!"

I had the same reaction when I saw an interview of Kathleen Kennedy stating she was a fan of Star Wars... from a filmmaking perspective. That seemed like such a finagling cop-out for me, at the time.

"Just say you're not a real fan, God!"

And it's easy to divide it in two camps, like that. You have 1) the real fans, who will delve into deep lore, and 2) the average moviegoer, also known as the "filthy casuals."

But looking back on it... holy shit, that is actually a completely valid way of being a Star Wars fan.

Yes, Star Wars is a transmedia franchise, it's books, it's video-games, it's deep lore, it's lightsabers and Jedi and Sith and bounty hunters and Ewoks and Jabba and High Republics and Tython and Revan etc.

But before it was that, Star Wars was a filmmaking revolution. A juggernaut of innovation for the silver screen that inspired most of today's filmmakers.

So, sure, George Lucas isn't an avid lore-loving Star Wars fan like you and me. But he is a movie fan.

"I'm not that passionate about this story. I like it, it's fun and I enjoy doing it. But it's definitely not my life. I'm a bigger movie fan than I am Star Wars fan. I like making movies. At the end of nine years of making Star Wars, I was not ready to continue it. I was completely burned out on it. I was more passionate about raising my kids than making movies and especially making Star Wars. So I made other kinds of movies and TV shows and advanced the technology I needed. It's not a matter of passion. My passion is for filmmaking. I'll go and do filmmaking that is easier to do, where you can realise your ideas better. And nine years is a big part of your life, and to commit to another nine years, I didn't wanna do that right away." - EMPIRE, 1999

And you can tell this, when you watch the Star Wars films.

There are honestly so many homages and interesting filmmaking techniques, peppered throughout the six films, which only a nerd for cinema history like George would know how to implement.

C3-PO being based on the droid from Metropolis (1927) is a perfect example of this.

And that's interesting.

Because there's essentially this entire other dimension to the films, where it's not just the story unfolding, but to filmmakers it's also a series of techniques that make them go "I wonder how they did that!" or homages that make them go "OH! I know where that's from!" like we do when an comics characters appears in live-action.

Here's other examples:

CINEMA HOMAGES

All of Star Wars is absolutely littered with homages to cinema history.

I mean, you may already know this, but Flash Gordon is what George originally wanted to shoot, but the copyright holders said they only wanted Fellini to direct it (ironically, George wasn't artsy-fart enough for them). So he decided to write Star Wars instead.

As such, the inspiration from Flash Gordon is also present visually and spiritually throughout the two trilogies.

"It was like a Republic serial, a 1930s-style matinee adventure. The idea was that you came in, saw Episode IV, had missed the first three episodes, and wouldn't get to see the rest of it." - Starlog Magazine #300, 2002

The dialogue that a lot of people refer to as "campy" and "flat" is actually a mix of George being an experimental filmmaker who doesn't give much of a fuck about dialogue (and is by his own admission, not the best at it)...

"I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic. It's not designed to have a clever turn of phrase. [...] I just wanted to get from point A to point B. This film doesn't lend itself to that sort of thing because it's not about snappy one-liners.  I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style. It takes away from the integrity of the movie. [...] I'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem." - EMPIRE, 1999

... which is convenient, because it helped him simulate the dialogue of 1930s matinee serials, such as Flash Gordon.

"Let’s face it, their dialogue in that scene is pretty corny. It is presented very honestly, it isn’t tongue in cheek at all, and it’s played to the hilt. But it is consistent, not only with the rest of the movie, but with the overall Star Wars style. Most people don’t understand the style of Star Wars. They don’t get that there is an underlying motif that is very much like a 1930s Western or Saturday matinee serial. It’s in the more romantic period of making movies and adventure films. And this film is even more of a melodrama than the others." - Mythmaking: Behind the Scenes of Attack of the Clones, 2002

But beyond that, literally it's everywhere.

The scene where Palpatine ascends to being Emperor as Anakin slaughters his political rivals parallels the final scene in The Godfather, where Michael becomes the Don while his goons do the same thing.

This video compiles all the tributes beautifully. Check it out.

Even The Clone Wars has whole episodes that are direct homages to cult classics. The Zillo Beast episode is a clear reference to Godzilla, the episode The Wrong Jedi is inspired by The Wrong Man, etc.

"CINEMA VÉRITÉ" CINEMATOGRAPHY

I've already written a whole post (one of my favourites) showing how his fascination with cinéma vérité documentaries is reflected in the cinematography of all six Star Wars films, and it's part of what makes the entire franchise feel so immersive.

You can check it out here:

KUROSAWA

We've gone over how he's a big fan of Akira Kurosawa, and how big an influence Hidden Fortress was on both the Star Wars trilogies...

... but so is the mise-en-scène and the way George approaches production design. The reason Star Wars feels so "lived in" is also a lesson George learned from Kurosawa, which is that by making everything just a bit off-kilter, a bit dirtied-up and imperfect...

... and yet keeping it all consistent, in a way, you manage to make the film feel grounded and immersive, no matter how alien it is.

"[It] may sound odd in a movie like this, but credibility and realism, even in the most unrealistic situation… to sorta create that sense of realism is very important to making the story work and making you feel like you’re actually in the environment that transports you and gives you the suspension of disbelief that you need in order to enjoy a movie. [...] Kurosawa used to call it “immaculate realism” which is to make it slightly off-kilter, slightly eccentric, like things are in real life. Even if it’s a very predictable situation, give it that little funny edge that takes it away from that and makes it realistic. And I had to struggle very hard, in the Star Wars films, to make them appear to be realistic, even though they’re totally fantasy." - The Phantom Menace, Commentary Track #2, 1999

POST-PRODUCTION & VFX

Another one of the more impressive aspects of the first Star Wars was the dogfights and the trench raid of the Death Star. The camera pans with the spaceship, the dynamism of the cuts. The space battles is what made George creat ILM in the first place.

He was determined to do the opposite of what 2001: A Space Odyssey had done with that opening scene where the space ship moves into frame slooooowly...

... so he gave the team a collection of WWII dogfight footage to give them ideas.

(note: this was the same approach he would take years later with Dave Filoni, when teaching the latter how to edit and craft dogfights in The Clone Wars)

The attempt to film the trench run eventually led to the creation of the first motion control camera dolly.

Best analogy I can think of, when describing George's approach to Star Wars, is the following:

An avant-garde esoteric contemporary artist - y'know, the type who puts a blue dot on a white canvas and calls it art - creates a comic.

Why? Because he wants to make this one art installment for a gallery exhibition. After that, he intends to move on to other things.

But the comic is really good! And like, its audience quickly expands beyond just gallery visitors, no, everyone likes it.

Suddenly, the comic develops a cult following, and the entirety of comic book geek culture has zeroed-in on the artist and they're all asking him to make more art! And he makes more! And more!

Then he stops for two decades, moves on to other art projects, raises his kids. Years later, he discovers new ways of drawing, and he's like "I'm making a Prequel to the comic, y'all wanna see it?"

Everyone cries out gleefully: "Oh God, yes! Finally! Show us!"

But this motherfucker makes a manga.

Why? Because he feels like it.

And of course he does, he's just creating art, right? He discovered the graphic tablet, so he's having fun with it, because he's always innovating and pushing the envelope with his art.

And the books are fine, by manga standards. But by comic book standards, they obviously suck! The comic book audience is mad. They wanted another comic book, not a manga. Why is it in black and white? Why is read right-to-left? This comic is crap!

(And arguably, they have a point... as a savvy businessman, he's made a whole lot of money off this comic, he built a media empire out of it, and instead of giving them what they want, he made something else)

But again... this guy isn't a comic book illustrator, and has been very explicit about saying this.

He's an artist who - for a very specific project - drew a comic.

Many things can be true at once:

the fact that these creative decisions didn't always hit their mark for the average moviegoer, or fans of "Star Wars, the space fantasy movies and expanded universe" (usually the lore-loving geeks like myself)...

... and the fact that they were meticulously and carefully crafted in a way that fans of "Star Wars, the revolutionary film" (aka fans of cinema and filmmaking) can appreciate.

There's a spectrum of the fandom, and there is a spectrum in the way we can appreciate Star Wars. Which kinda reminds me of that scene in Chef (2014) where Carl goes on a rant explaining the intricacies of making his chocolate lava cake to a food critic.

It's not just undercooked chocolate. It's molten.

Conversely:

It's not just flat, campy dialogue. It's an homage to the 1930s matinee serials à la Flash Gordon.

It's not just boring cinematography. It's a reproduction of cinéma vérité documentary-style camera work which effectively grounds the film.

Having considered all this, when I hear that Tony Gilroy or Kathleen Kennedy were more fans of Star Wars from a "cinema studies" side rather than the typical pop culture one, I think it's fair enough.

First of all, because like it or not, so was George. He clearly didn't give a single crap about the offshoot comics and books and their lore, besides signing off on minor plot points. He's not a "sci-fi movie director", he's an experimental filmmaker who set some of his movies in space.

But secondly, because - aside from children - it's clear the audience he was targeting was not the fans or the critics... but these very same cinema-savvy people, who get his references and homages, and who were inspired by the new filmmaking techniques he introduced.