#i have only a vague idea of what it's actually about but i love it already. just LOOK at that teaser poster.

[docholligay]

I have no idea how wild the fandom for Hadestown is. If you don’t know me, if we’ve never exchanged words, and you have BIG FEELINGS about Hadestown that any level of critique will set off, I very much encourage you to move it along. I can’t do Hamilton 2 or whatever. (If I know you I will give you more leeway FOR SURE. I just want to keep strange weirdos out) 

First, I have to provide a little bit of context: I got in on the ground floor with Hadestown. 

Yes Doc, I too, have been obsessed with it ever since it was in previews--no, I mean, i saw folk singer Anais Mitchell perform the whole thing like 15 years or whatever ago in a converted garage venue. 

I wasn’t even in town to SEE HER, I was in town to see a different artist and this was back when live music was a bigger thing and not a dying scene, and people just bought tickets to whatever was playing on a free night. I like folk music, I liked the idea of what was then being called a folk opera. It was instant love. Orpheus and Eurydice is one of my favorite myths, I am from a rural and exploited place, I loved everything I heard, some absolutely glorious poetry going on there. Bought the concept album, forced so so many people to listen to it all the way through. Forced jetty to listen to it on our road trip! Before the musical came out even!

I have been following this musical ever since then. I kind of thought it would never get made! I followed the original version, and then the broadway one. What I’m saying is, I have what now amounts to about fifteen or so years of history with this musical, and all the changes it has gone through, and all my individual feelings about each of those changes. My evaluation necessarily lives within that context. 

This was part of the reason it took me so long to see the Broadway! I wanted the emotional space to feel however I felt about it, even if that ended up being, “I fucking hated that” and it’s hard to have that when someone buys very expensive tickets and a trip for you to see something you’ve been following for years. Part of jetty’s gift of this was “And you can hate it!!” and I knew she meant it, because when you watch something move and be workshopped and change, you get a lot of feelings about it. 

So I can’t really go, “I liked Hadestown/I didn’t” I mean, I have loved hadestown for a very long time. If all you wanted to hear was , ‘Did you like it?” oh yes! But I have at least four versions sitting my head right now, and they are all next to each other for evaluation in a way that someone who has only experienced the broadway can’t have. 

I want to provide this knowledge because my thoughts about it go so far beyond what is currently being staged on Broadway. No, this is not going to be me saying, ‘Everything was better with the concept album!” no, some things are, but this isn’t that I promise. 

Everything below this is spoilery

So, originally Hadestown was a slightly different story and admittedly, one that spoke to me more than the story I saw last night. It was a lot more specific in its earliest days--it was about an impoverished mining town. Hadestown was the company town, underground, and there was basically no mention of Hades and Persephone being actual gods, anything was winked to, but it was mostly about how the holders of capital have all the accountability of gods. The whole thing had a much stronger anti-capitalist framework, and Orpheus and Eurydice were basically naive kids who thought they could avoid involvement with the mine. Obviously, this very much spoke to me. It was matching my freak exactly. 

It is not that now. And that’s both totally expected, and disappointing to me personally. The show now is much more of a, I’m trying to put this in a way that feels less insulting because I don’t mean to be, very Captial L Liberal. Audiences who can afford Broadway tickets will eat up the vague notions of wishing for a better tomorrow and ‘show the way the world could be’ and putting this back into the framework of a story of the gods instead of the utter lack of choices available to people, that the game is rigged from the start, and Orpheus even having this chance is both an exception and a test hades expects him to fail. I get why this happens. Literally every story that has ever been brought to Broadway has had to be made more palatable to a broader audience. The story it is now, is much much more broad, much more life affirming or whatever, and much more easy to hear. I think I would like it better if I didn’t know the story from the very first versions. 

But that was not a problem last night! That was a problem when i heard the previews out of Alberta! So I’ve had years to adjust to knowing that they were going to blame Orpheus a lot more. Which I love that the Broadway seems to have backed off of! The Alberta production really sort of LAID INTO THE BOY in a way I aggressively did not care for, because it was the antithesis of the story as I understood it. Love that they took that back a step. 

Anyway, so, things I loved about the musical last night:

The staging of Wait For Me fucked SO SEVERELY that honestly it makes me forgive like 90% of the things I don’t care for in the final Broadway version, that I thought were done better in other versions. I almost cried, it was EXACTLY what I would have pictured in my head after hearing it all those years ago. It was incredible. I wish I could see it again, and study it. I am thinking about it right now! It will live rent free in my head. Perfect. 

The gal who played Eurydice has clearly listened to Anais Mitchell albums, because she sounded SO MUCH like Anais that it even took me back for a moment. 

I’m not sure if this is praise or a criticism: 

I don’t know how I feel about having Hermes as an overall narrator! I go back and forth on it and have since the Alberta came out. If I were going to do it I would do it differently than it is currently staged. Jetty was talking about how she loves when the instrumentals are onstage, and I’m the exact opposite--I mostly find it crowds the stage while not bringing much interest for me. But in general, i both like it and do not like it, to give a very useful critique. I don’t hate it, for sure. I love the opener for Wait For Me II. But overall I will probably need to think about it for another 15 years. 

Frustrations I have:

 I think I have decided that even for the MASSIVE INSANE BUCKWILD flaw of seemingly blaming Orpheus for Eurydice’s decision, the Alberta is the best version. I think I prefer the concept album on a personal level for a lot of things, but I think the Alberta is, well for starters, definitely more complete--the concept album has some massive gaps in it that desperately needed filling--but it preserved a lot of the poetry that the Broadway version seems to have stripped out while being much more mass appealing. I was particularly GALLED by the rewrite of Epic III, one of the things in the Alberta version that made me say, ‘Wow I am prepared to forgive a lot of horseshit for this song, my god” 

NEVER FORGET WHAT THEY TOOK FROM YOU

They took out "The heart of a king who loves everything like the hammer loves the nail" imagine writing that line and scrapping it, are you HIGH, fuck me running.

And I think this summarizes a lot of my frustrations about the changes between the Alberta and the Broadway. It no longer sounds like a folk opera. It has lost a lot of the poetry of the original, folk music being very grounded in lyric and somewhat less in vocal theatrics. 

Also, and this might just be an actors thing, I did not get any sense that Persephone and Hades love each other…at all. Part of the appeal for human beings named Doc who are me is that they love each other, and they can’t stand each other, and I didn’t FEEL that at all. Like i said this could be an acting thing--I was not overly impressed by our persephone broadly. But taking out her part in Chant II I think also really contributes to this problem. 

This is both the Alberta and Broadway versions: I MISS THE FATES BEING A REALLY TIGHT 40s STYLE GIRL GROUP SOB SOB SOB. In the original, the fates were the only characters ‘outside’ the story, and this was indicated stylistically by the fact that everyone else was singing folk music, and they were singing in this very different style. The idea fifteen years ago was that they actually would be dressed all in that style, but yeah, none of this happens now and i find it SOOOOOO disappointing personally. I hate their stupid costumes I hate the ‘rougher’ style of vocals I hate it so much ahahahahha. If I was going to force Anais to change one thing it would actually be this, even though it is insanely petty and silly. 

The best version of when the chips are down:

I don’t know if literally any of this is what you were looking for but I somehow deeply suspect not. I am IN THE SHIT with Hadestown though, so if you have any specific things you wanted to ask about or have me talk about, let me know! I am just cutting this off now because it’s already at 1700 words and I’m not sure anyone cares that much about my journey with the only musical I can truly say I knew about when it was still a twinkle in someone’s eye. 

(Yeah Doc, I have a question: Do you have anything mean to say about the concept album? OH BOY DO I. Some of it is to be expected like, "Uh, Anais you need the rest of the story here girl." but a huge one is I fucking HATE that she got Justin Vernon, who you know better as Bon Iver, to do Orpheus. He SUCKS. He sounds bored the whole time because that is how that motherfucker sings. I have HATED it since day one. Reeve Carney is perfect and literally what I started my local women's prayer and casserole circle to petition the Lord for.)

[finderseeker]

@leucoratia Thank you for giving me the opportunity to talk about him even more

First off, I’m glad this solution seems to be such a hit!! I just couldn’t reconcile the character WD was becoming/had become with what we know of Gaster. So this works well!!! (Despite the questions it raises meta-wise.)

*Rubs my hands together evilly* Okay SO! WD and his relationship with Grandpa here. I haven’t completely decided on anything just yet but I do have some Ideas. Some Notions if you will.

I think there’s pressure to get into the field from family, yes. But I don’t think it was necessarily negative pressure, if that makes sense. Like, I’m not sure it was the kind of thing where they would have been disapproving or upset if he chose some other career, per se. More that they didn’t even consider the possibility that he would choose anything else. Sans is a physicist, Papyrus is an engineer/mechanic/something like that, and they’re both very smart, but WD, oh, he’s the prodigy. He’s the golden child, even for all his quirks and rarities. An anxious disposition and weirdly long tail and unusual font and cracked lip aside, he’s got so much going for him!

I think that, likely, in their efforts to ensure that he didn’t feel any different than anyone else regarding disposition and physical traits/limitations, and that he knew he was ✨special✨ because he’s so smart, his parents probably made it all worse, actually. Not acknowledging that he was, in fact, different and unusual only made him feel more invisible. Which of course made him feel bad, because he was the main focus of his family’s attention. (‘How can I be unsatisfied with when I get so much attention compared to my brothers? Am I just spoiled?’)

He felt he had no time to goof around, no time to play, because he ought to be studying and learning more. ‘Why, with a mind like that, he surely takes after his grandfather in more than just font! Perhaps he will be the next Royal Scientist!’ said everyone. Which, y’know, gets to you as a kid.

While it was only ever meant to be encouraging, the pressure to live up to that was overwhelming. It’s not just that he’s named after his grandfather, it's not just an abstract sentiment for skeletons. He’s got his font. Which, apparently, suggests some other similarities. He’s always The Serious One among his brothers because they’re always goofing off (from his POV anyway) when they should be working! How can they be so lackadaisical? The fate of all monsters rests on them helping their grandfather; how can they be so relaxed just because they aren’t on the clock? Is their pay the only thing that matters to them!? They should be endeavoring to find solutions at all times!

So. Yeah. His mindset is very much shaped by the idea that it’s his responsibility to use his abilities to help others. It’s not as simple as letting his family down. What he wants has never been a factor in the equation, and so he doesn’t linger on it. The way he exists has already dictated his life course. It’s as simple as that. It’s not out of love for others— whether his family specifically or monsterkind at large— but rather out of obligation and responsibility. He does not feel a particularly strong affection towards monsters in general. (The opposite, actually.) He has never seen the surface, and frankly, with as dangerous as humans are, he doesn’t entirely understand why or agree with the idea that getting up there would be a good thing to begin with. But breaking the barrier is the goal that’s been put in front of him, and so that’s what he works towards. Along with the supposedly more achievable goal of “helping people,” despite that being an incredibly vague and nebulous concept with no real direction.

He’s got this whole complex about what he’s supposed to be. No one is actually stopping him from being anything else, but the barriers he’s erected in his own mind feel immovable. If he has all of this ability, how could he not use it? Everyone is relying on him to be as brilliant as his grandfather and carry this mantle, but no one understands the pressure he’s under. No one understands anything! Even Papyrus, who practically never sleeps, doesn’t appreciate why he can’t just “take a break.” If he doesn’t accomplish something, he will never be free from these expectations!

I think deep down that’s why he kind of idolizes sci-fi supervillains? All the intelligence, all the means, and they use it for their own interests! They are beholden to no one, only themselves, and even the “heroes” can never stop them for good. Sometimes, the villains have better motivations than the heroes, even. I think WD’s fantasy, subconscious or not, is being able to go completely off the rails and create and do something utterly selfish. He has some bizarre resentment, I think, against people in general. Maybe it’s envy, in the sense that they lack the burden he does. Maybe it’s some kind of frustration that they’re all just standing around, twiddling their thumbs and waiting for some kind of “salvation” from either the king or from them, the scientists responsible for every other quality of life. If this solution needs to be found so desperately, why is it being left to so few people!? Why aren’t study of human magic and other magical-scientific disciplines a required field in schools? Why is there not a requirement that all who are able work on this pressing issue!?

So. He’s got this buried, probably subconscious resentment. He’s always irritated because of it. It feels like he’s the only one taking this seriously, and therefore the only one who can do anything about it. Rather than be reassured that no one is forcing this on him, his perception is that because no one else will “take it seriously” (read: “work ceaselessly”), it must fall to him. He has to. Because otherwise it will always be hanging over his head.

Now. Grandpa Gaster definitely doesn’t approve of… any of this. (In general, not the supervillain thing. WD is taking that secret to the grave.) Gaster encourages him to take breaks and not work himself so hard. Unfortunately, despite his kindness and reassurance, WD only sees that as, “Look, this is so simple for him that he doesn’t even need to exert effort! He thinks I’m far more capable than I am, he must think I’m accomplishing more than I actually am. I have to work harder so that I can reach that level and live up to this.”

Yeah.

Gaster is quite caught up in his own work, and although he cares very much for his grandsons, I don’t think he’s entirely… connected with them. He doesn’t realize what WD is putting himself through, entirely. He just sees a bright, like-minded young man with a strong work ethic and a love for helping others! Even if he’s a bit prickly and perhaps embarrassed about it. But he’ll come around! Young people are so caught up in how they’re perceived by others; surely WD will mellow as he ages.

(Spoiler: he doesn’t. Or, he doesn’t really get the chance to.)

The biggest difference between them is that Gaster is doing this because he loves people and he loves his work. All his efforts are a labor of love. For monsters, for unity, for freedom, for the universe. WD is doing this because he feels that he must. He is not especially moved by love. He doesn’t gain a sense of purpose from this, he only feels burdened.

Gaster doesn’t quite… pick up on this. I think he would love to have a warm relationship with his grandsons, and prooooobably does more with Sans and Papyrus. WD, meanwhile, has so many self-inflicted mental barriers and blocks and restrictions and obligations that he’s created this artificial distance between them. It really, really doesn’t need to be this way, but unfortunately our perception shapes our reality, and the stronger a person believes something to be a certain way— that is, the less open they are to being wrong— the stronger they shape their reality. Someone like Gaster, who is open to different interpretations and understandings and so on, is more likely to see reality for what it is— but even he’s not infallible, because he is a singular person who has his own experiences and therefore his own perception. He thinks WD is just “at that age” (whatever that means) and is simply trying to prove something or is overly worried about what other people think of him, and that it will pass with time. He doesn’t understand that WD is torturing himself over pressure that isn’t even real.

He thinks it's so wonderful that WD wants to work with him and spend time with him, and oh, he's such a bright young man, he will surely accomplish so much! He's so proud of him.

WD is... not really capable of accepting love (in the form of acceptance or pride) from others right now, because I think he feels like he has yet to earn it, maybe? He's got this impossible standard he's trying to reach,* and he's depriving himself of everything until he can get there. (Which will be never.) He's miserable and it's all self-inflicted. It doesn't even need to be this way. ((He and Seeker (the character) have this in common I think…))

He does love his family. He loves his brothers and his parents (probably?) and his grandfather and his cousin(s). He loves them way more than he'd ever admit out loud. He's exasperated that none of them seem to Get It, but he's so convinced that he's the only one who's right that there's really no telling him otherwise. He doesn’t even know what he wants, only that he doesn’t have it and can’t have it. (Except, he can, of course, if he would just freaking calm down for a second.)

The funny (or sad) thing is that if he could just get past this thing he’s got in his mind, he’d be a much happier, more fulfilled person. If he weren’t busy stressing himself out and running himself ragged (and actually making his own anxiety worse in the process), he’d be a warm, conscientious person and a loving, attentive partner. As it stands, he’s Stress Response Central and essentially is slowly cutting himself off from the people who care about him, rather than rely on them. (This potentially includes Asteri, but their relationship is a whooole different post.)

If he keeps on this path, one of two things is going to happen: he’s either going to end up killing himself (or worse) by falling into the same thing that shattered Gaster in some desperate last-ditch attempt to Fix Everything; or he’s going to crack (no pun intended) under the pressure and burn out in an absolute fireball of metaphorical explosives.

And from the outcome where he doesn’t die/end up meeting a similar fate as his grandfather, there are two outcomes.

So, he’d burn himself out gifted kid style, but like several times worse. Has a complete breakdown and it resigns him to being stuck at home/in bed recovering his mental and emotional energy. But also being extremely depressed and probably rotting a little bit. And isolating even more, honestly.

The good ending would be him slowly recovering and making peace with not being The Only One Who Can Fix Everything, and maybe not even staying in the same field of work (if he can work anymore). The good ending also involves him being on good terms with Tempus again. (But that’s an entire can of worms I’m not touching here.) If he’s anything like me, it’s gonna take a few years (minimum) of rest and recovery after pushing himself that hard. I would not be surprised if he causes some permanent damage to himself (either mentally/emotionally or physically) that renders him unable to work/do what he used to.

The bad ending is that he rots in bed and wallows in depression and mourns the fact that he “wasn’t good enough” to stand up under the weight of everything and Fix It. And he just. stays like that. Isolating himself more and more, refusing to talk even to his brothers. And also Tempus still hates him. And that’s it that’s his whole life. The rest of it is spent mourning and regretting and reliving every decision that got him here, reflecting on all the things he deprived himself of in pursuit of his goal, only to fail and end up unable to have those things now that he has all the in the world. Self-deprivation of pleasure or enjoyment or rest, and for what? To break down under the weight of it all and have none of it anyway. He should have enjoyed what he was offered when he had the chance to accept it.

Anyway, as you can see I have a lot of feelings and thoughts about him (and this isn’t even all of them). I doubt that he resents his grandfather, but I do think that with the way things end up, he feels like a disappointment to him and there’s really no way to ever be assured otherwise because Gaster’s gone by that point. But I guess that’s part of the point, really: that you’ve gotta be okay with where you are so long as you’re doing what you can (to a reasonable degree), even if it disappoints other people. I think WD needs a lot of things but honestly I don’t even know how to begin to help him. He needs to go on vacation.

On an ENTIRELY unrelated note, I may have come up with a really funny (read: “stupid”) solution to the problem mentioned in the second half of the tags on this post.

Which isn’t what I wanted to focus on. I need to work on the stuff I already have going. But. It would be funny and unfortunately sometimes that’s the most compelling thing.

I will elaborate on what this possible solution is tomorrow.

[havenshereagain]

DPxDC Idea

Danny working at Wayne Enterprises as some sort of engineer, uses the in-house app for all his blueprints and stuff

He starts getting notes from a coworker in-app, and assumes its this annoying older guy in his department who constantly undermines him because of his age, despite his education and past achievements (i feel like in this AU the Fentons react well to the reveal and they work together on a number of non-lethal ecto inventions that have Danny's name attached to them)

Except one day his coworker mentions never using the app, and Danny suddenly realizes there's only one other TD he could've been arguing with in the notes of the app

[egophiliac]

I can't believe the next Sentai is about FAMILY

this is the fast and furious/speed racer crossover we never knew we needed. do you think their wheels spin? I hope their wheels spin.

[icewindandboringhorror]

Little bright colored outfit with a fun vest ~

(shoes from ebay like 10 years ago. everything else is thrifted)

[undertale-fic-librarby]

Melatonin

A FluffyNight drabble to celebrate reaching 50 followers on this account. It's pretty short & not beta read, but I think it's alright for being written in one sitting. Happy reading!

Beep! Beep! Beep! The sound of Ccino's alarm forced him awake, pulling him out of the pleasant dreams he had been having. Even now, Ccino could feel them slipping from his skull, leaving him wondering what exactly he had been dreaming about.

The continued beeping of his alarm pulled him from his thoughts & Ccino groaned, pushing his face into his pillow. Blindly reaching for it, Ccino attempted to turn it off without looking, knocking his hand against the other things on the nightstand before finally managing to push the button to silence it.

Blissful quiet filled the room as Ccino felt Nightmare shift next to him. Arms wrapped around him & pulled him close, holding Ccino close to Nightmare. Ccino smiled sleepily, turning on his side so he faced towards the other. He hummed quietly as he observed Nightmare looking back at him with a lidded socket, an annoyed expression on his face.

"Sorry, did I wake you?" Whispering so as to not ruin the atmosphere, Ccino questioned worriedly. Nightmare shook his head & moved slowly, readjusting them both until they were situated comfortably against each other.

Ccino smiled wider & closed his sockets, holding the other in his arms. Together in each other's arms, they both quietly drifted back to sleep.

Bonus scene!

A shrill beeping jolted them both back awake, causing Ccino to jump in Nightmare's arms. Grumbling to himself, he slowly sat up & reached over to the alarm, shutting it off.

Sitting up properly, Ccino stretched his arms above his head & groaned as he heard his joints pop, rubbing the bottom of his sockets with one hand. Picking up his phone & turning it on, his sockets widened in shock as he let out a loud, "Shoot!"

Scrambling & throwing the blanket off of himself, Ccino barely noticed as Nightmare sat up in alarm. "Is everything alright?" Ccino stammered out a reply, mild panic in his voice as he began changing out of his pajamas.

"Everything's fine! We just overslept a bit!" Relaxing slightly, Nightmare observed as Ccino got ready for the day, rushing around quickly so he wouldn't be later than he already was. If he concentrated, he could swear that he heard the meows of hungry cats impatiently calling for their breakfast.

Hastily walking over to Nightmare, having gotten dressed quickly, Ccino leaned over & placed a chaste kiss against his lovers cheek, smiling. "Love you, see you later!" With that he exited the room, leaving Nightmare sitting alone on the bed with only a warm imprint of where Ccino laid as company.

[divinekangaroo]

Finding the Smethwick Corporation Act 1927 being actual legislation which extends the controls and powers of the constituency of Smethwick over that of (parts of) Birmingham

[insert some reaction gif here]

[puppys-rhythm-heaven]

i am being so fucking autistic about a video game i've only played an hour and a half of and have absorbed like 99% of my information about through osmosis from my bestie(s. it's complicated) and fanfiction. catastrophic levels of autism. i can't stress this in words i don't think y'all understand. or care honestly sdflkjfdskdfsjsfdkj-

[homosexualcitron]

Sometimes i'm like omg i can't make fantasy world that is sooo inspired by reunionese culture, that's not the point of fantasy :(( then i remember that europeans just do that.. and nobody cares so why me

[anotheruntitledsong]

i did like the hidden palace but (SPOILER if anyone hasn't read it?) i'm genuinely so annoyed at how Arbeely is handled like... I wish i could be sad but i'm just fucking irritated. I was overly invested in him and that's def why but i just feel like they did him dirty

[inbabylontheywept]

my grandpa was a good man. and it really wasnt his fault - recreationally lying to kids is a proud family tradition - but he told me, once, that cutting a worm in half resulted in two worms.

i think he said it so i'd be more morally okay with fishing? i actually dont remember the context.

point was, he told me this, and he understimated (by a very large margin) how much i liked worms. i was a worm boy. very wormy. and after hearing that, i went home, and i dug through the garden, flipped over every rock, did everything i could to gather as many worms as i could, and then i uh.

i cut them all in half. every worm i could find. all of them. with scissors.

i then took this pile of split worms, and i put them in a box with a bit of lettuce and some water and stuff and went to bed expecting to double my worms overnight. i have math autism, so i had a vague understanding that if i did this just a few times in a row, i would eventually have a completely unreasonable amount of worms.

i was very excited to become this plane's worm emperor.

(i think i was...six?)

anyway, i did not become the inheritor of the worm crown. i instead woke up to a box of dead worms and cried. a lot. i got diagnosed with panic attacks as a teenager, but i think i had them as a kid, i just had no idea what they were. i was kind of processing that a.) i had killed what i had assumed was every single worm in my yard, and thus would have no more worms, and b). i was going to like, worm hell.

(six year babylon spent a lot of time worrying about god.)

so i kind of freaked out, and i climbed a tree, because god can only smite you if you're touching the ground (?) and i sat up there mostly inconsolable until my mom came out and asked, hey, what's up? what happened?

so i explained to her that i had killed all of the worms, forever, and was also Damned, and she took me to the compost pile, and we dug for all of five seconds and found like twenty more worms.

the compost pile was full of worms.

she then told me that a). there were more worms, and we could put them back under rocks and stuff and recolonize our yard and b). that one day, i would die, and go to heaven, and be able to talk to the worms face to face. that i'd be able to tell them all that i was very sorry, and that i killed them on accident, driven only by excessive Love, and that she was positive they would forgive me because worms have six hearts and no malice.

at that point, i think i was sixty percent tear-snot by weight, and i had no choice but to gather enough worms that i could hug them. which my mom helped with. and then after that she helped me put some worms back under each rock.

and for my epilogue: i spent a significant portion of my childhood in trees. and for many years after, even when my mom didnt know i was watching, i would catch her giving the space under the rocks a light spritz with the hose. not because she loved worms.

but because she loved me.

[zecoritheweirdone]

girl help i’m feeling the urge to make a drawing/comic about a friend’s fic instead of working on my own god damn fic orz

[kathaynesart]

It is done! *falls down*

BEGINNING || PREVIOUS || NEXT (SOON) MASTER POST

I have... so much to say on so many different things but it is 2:30 in the morning so I will keep this as brief as possible. First off, thank you to all my mom friends and mutuals who helped me with accurately portraying and normalizing the experience of giving birth. It is wonderful, and painful, and gross, and beautiful. I apologize if it made any readers squeamish (and I know there were a few gross jokes in there) but considering how gross the tv show got, I think it remained true to the overall vibe!

Second, I wanted to talk about the concept of "hope" in this story. When I first watched the movie, I felt like the idea of hope being their greatest weapon seemed sort of heavy handed and cheesy. However, after watching the ending of the show again I realized that hope is actually a huge reoccurring element in the story and a big part of what it means to be of the Hamato clan. Doubly so, I wanted Casey Junior in a way to symbolize that hope for Leo specifically, so when Leo talks about hope in the beginning of the movie, he's not just talking about some vague concept, but Casey Junior himself. He is their greatest weapon and he doesn't even realize it.

Thirdly, so uh... Casey Junior. I apologize if it had seemed out of left field, but do know that the decision of his origins was not made lightly. The shear similarity in his facial structure to Lou Jitsu as well as several other factors that I will refrain from stating due to future spoilers was too numerous to ignore! It is an integral part of his story for reasons that will go unsaid for now, and no, he does not know he's distantly related to them. Also, Big Mama! Been holding onto her concept for some time now! I loved the idea of her mystic broach becoming damaged so she can only be cloaked to a certain degree, making for an interesting blend of both her forms. She was really fun to figure out!

Finally thank you everyone for your patience. This special turned into quite the endeavor with most of the updates exceeding 20 pages each, but I'm so happy I was able to finish it... even if it did take so much longer than my projected hope. I can't wait to get back to the main storyline, though I shall miss these silly, overpowered boys. We got a lot of ground to cover and I'll likely be posting a summarized reminder before continuing. ...and after I finish work on some Zines and the holiday special winning commission!

[snekdood]

ik i said a week ago or somethin that "im sorry mj isnt non binary" but honestly thats not fully true. she is nb in her own ways- i just dont want ppl to take that and then modify her to be fully gnc and more masc than she is like someone i know has 😒

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[evangelifloss]

Thinking about a certain scene in Dungeon Meshi that completely encapsulates the Autistic experience of making friends as an adult and how hard it is to try and navigate it without ending up getting hurt.

Like IDK about y'all, but this is a common problem ALOT of Autistic Adults face when trying to make friends with other people, because unlike children who aren't good at keeping their opinions to themselves, Adults ARE. In society, we're even encouraged to "keep the peace" "be polite" and etc, which commonly leads to awful scenarios as shown above when Laois finds out his buddy has come to resent who Laois is without actually telling him. All too often the friends that we love to hang out with, people that we're so happy to spend time with, don't feel the same way and in many cases, come to blame us for our social cues or lack thereof.

And when/if we do eventually find out how our friend feels, Dungeon Meshi hits us with another painful panel of how that usually ends up playing out.

It's hard for Adults with Autism to make friends, and even harder to maintain them because alot of the ways Neurotypicals tell other Neurotypicals that they don't like a certain behavior is by quietly disengaging. Whether that involves having one sentence answers, going quiet, or having a certain tone in their voice, all those things signal annoyance or disapproval, but for the Neurodivergents, those subtle cues are completely missed.

And yet when we inevitably discover we DID do something, it is natural to ask "well why didn't you tell me?" because in our minds, it should've been the next step in the equation. However for the Neurotypicals, that's NOT something to bring up. Its important to be SUBTLE about the issue at hand and rely on signals to tell the other person. Blame is placed on us for not noticing the "obvious" signs of disapproval rather than the idea of talking it out as such things are uncomfortable and harder to do. Alot of the time what ends up happening is resentment due to the idea that it was "obvious" and the fact one didn't notice indicates a deliberate ignorance rather than a complete unawareness. It ends up calling into question our quality as a person and our sincerity. We get called "fake" or "malicious" or even "stupid" for failing social cues rather than questioning the decision to be indirect and vague.

For a manga about exploring the dungeon, it seems that the artist would rather explore very real and prevalent dynamics in society with the adventuring premise as a backdrop. I felt VERY seen in these panels, and many others, because it happens so suddenly and dare I say it, plainly. There's no dramatic build-up or spectacle made and in essence, it just Happens.

I think that's what makes the scene hit even harder. It seemingly comes out of nowhere for Laois, like how it always comes out of nowhere for alot of people, and it's never a dramatic twist either. It's always mundane and hurtful. A sudden unforeseen bump in the road that ends up calling into question one's entire friendship with someone and consequent other friendships. It asks "what if other friends feel the same. What if the people that I really like actually hate me and I don't know it?" Or at least that's what I came away with after reading the chapter. I've been where Laois was and the only reason I'm not there now is because I lost the naivete I had and doubt everyone else's sincerity.