#i asked my teacher if we could make anything that had an established source and she said yes

[allergic-to-fruits]

in regards to my davekat comic

the hyperfixation won

and im also still waiting for the grade. ill update u all on that.

[sisteroutsiders]

Hello! I think those are great questions, questions that Audre Lorde also thought about in her different (and also inextricable encompassing) roles/identities as a teacher, poet, essayist, speaker, feminist, mother, and Black woman. People have adapted some of her work into a questionnaire that might provide a heuristic to navigate the challenges you have described.

THE AUDRE LORDE QUESTIONNAIRE TO ONESELF

What are the words you do not have yet? [Or, “for what do you not have words, yet?”]

What do you need to say? [List as many things as necessary]

“What are the tyrannies you swallow day by day and attempt to make your own, until you will sicken and die of them, still in silence?” [List as many as necessary today. Then write a new list tomorrow. And the day after.]

If we have been “socialized to respect fear more than our own needs for language and definition”, ask yourself: “What’s the worst that could happen to me if I tell this truth?”* [So, answer this today. And every day.]

The questionnaire can be found here: https://divyavictor.com/the-audre-lorde-questionnaire-to-oneself/

I know this doesn’t fix anything or even make it easier, but I think Audre Lorde would encourage you to write, to find a way to transform your silence into language and action. She wrote an essay about this, too! She writes the following after her first brush with breast cancer:

“In becoming forcibly and essentially aware of my mortality, and of what I wished and wanted for my life, however short it might be, priorities and omissions became strongly etched in a merciless light, and what I most regretted were my silences. Of what had I ever been afraid? To question or to speak as I believed could have meant pain, or death. But we all hurt in so many different ways, all the time, and pain will either change or end. Death, on the other hand, is the final silence. And that might be coming quickly, now, without regard for whether I had ever spoken what needed to be said, or had only betrayed myself into small silences, while I planned someday to speak, or waited for someone else's words. And I began to recognize a source of power within myself that comes from the knowledge that while it is most desirable not to be afraid, learning to put fear into a perspective gave me great strength.

“ I was going to die, if not sooner then later, whether or not I had ever spoken myself. My silences had not protected me. Your silence will not protect you. But for every real word spoken, for every attempt I had ever made to speak those truths for which I am still seeking, I had made contact with other women while we examined the words to fit a world in which we all believed, bridging our differences. And it was the concern and caring of all those women which gave me strength and enabled me to scrutinize the essentials of my living.

….

“For those of us who write, it is necessary to scrutinize not only the truth of what we speak, but the truth of that language by which we speak it. For others, it is to share and spread also those words that are meaningful to us. But primarily for us all, it is necessary to teach by living and speaking those truths which we believe and know beyond understanding. Because in this way alone we can survive, by taking part in a process of life that is creative and continuing, that is growth.

“And it is never without fear - of visibility, of the harsh light of scrutiny and perhaps judgment, of pain, of death. But we have lived through all of those already, in silence, except death. And I remind myself all the time now that if I were to have been born mute, or had maintained an oath of silence my whole life long for safety, I would still have suffered, and I would still die. It is very good for establishing perspective.

“And where the words of women are crying to be heard, we must each of us recognize our responsibility to seek those words out, to read them and share them and examine them in their pertinence to our lives. That we not hide behind the mockeries of separations that have been imposed upon us and which so often we accept as our own.

….

“We can learn to work and speak when we are afraid in the same way we have learned to work and speak when we are tired. For we have been socialized to respect fear more than our own needs for language and definition, and while we wait in silence for that final luxury of fearlessness, the weight of that silence will choke us.

“The fact that we are here and that I speak these words is an at, tempt to break that silence and bridge some of those differences between us, for it is not difference which immobilizes us, but silence. And there are so many silences to be broken.”

Thank you for asking your questions. There are no easy answers or solutions, but it’s important to ask the questions anyway—to, in Lorde’s words, “give name to the nameless so it can be thought” and felt.

Audre Lorde to her students during a poetry workshop, as shown in A Litany for Survival: The Life and Work of Audre Lorde (1996) dir. by Ada Gay Griffin and Michelle Parkerson

[abigail-pent]

TLT Theory Redux: Secret Doors and Heists

gather round the fire, children, for I have finished my third reread and I have theories to spin. they are interconnected. they will also take the form of "a listicle, kind of". This is not as tightly written/cited as I hoped it would be, many thanks to tumblr for eating the first version of this post.

THEORY #1: HARROW WAS RIGHT

About what? Probably lots of things, but specifically about the secret door. You remember Harrow's "secret door theory," right? On GTN p. 303, Harrow and Palamedes are having an argument about what is going on in Canaan House. Harrow makes fun of Palamedes' idea that there is such a thing as a Lyctoral megatheorem. Pal lightly mocks Harrow's "secret door" theory, about which she says:

"But all this is more than unsustainable, Sextus. The things they've shown us would be powerful -- would bespeak impossible depth of necromantic ability -- if they were replicable. These experiments all demand a continuous flow of thanergy. They've hidden that source somewhere in the facility, and that's the true prize."

The action picks up pretty quickly after this, and you just sort of forget about Harrow's theory since Pal's theory is so quickly proven correct. It's set up to make you think these theories are competing, but they're not. Harrow and Pal are both right.

Proposition 1: An entrance to the River -- or perhaps the part of the River on the other side of the stoma -- is hidden under Canaan House.

Evidence for Proposition 1:

1A) On GTN p. 191, Teacher says, about Silas siphoning Colum in the facility: "He cannot empty anybody here, lest they become a nest for something else!" This is highly reminiscent of HTN p. 98, when Mercy says: " A Lyctor's body, empty, with its battery intact but nobody in the driver's seat? Do you know what could take up residence? Anything could get inside you -- any horrible or evil or lonely thing, any miserable revenant, or worse." These two places are described very similarly; they may well be the same.

1B) I'm missing the citation, exactly, but I'm pretty sure it's textual that the first time the Lyctors + John ran from RBs, they ran by dropping into the River. Quite possibly from Canaan House itself.

1C) Teacher. We know he hates the water (GTN p. 325), we know he was created for the "sole purpose of safeguarding the place" (GTN p. 373). Of course, the whole place is surrounded by saltwater.

1D) When Ianthe and Cytherea are fighting and Canaan House is disintegrating, "brackish water from the fountain spattered across the floor and trickled into the cracks" (GTN p. 418). It's been well established already that 'brackish' is the word used to refer to River water. It's also the word used to describe the water that emits from Colum's mini stomae when he dies (GTN p. 393). Why is the fountain water brackish when other water in Canaan House -- for example, the pool -- is saltwater? Seems like a clue!

Proposition 2: Whatever is behind the secret door is the source of John's power.

Evidence for Proposition 2:

2A) During the big confrontation with John in HTN (p. 478-479), Augustine's suspicions echo Harrow's from GTN p. 303, when she's describing the secret door theory. He says:

"You've offered us explanations for everything over the years. But -- some of them didn't hold up on examination . . . It was the power I could never get my head around, you know? I follow power back to its source, John. It's the skill you asked me to perfect. And the longer I looked at yours, the less things added up."

Leaving aside for now the fascinating question of why John would ask Augustine to cultivate this skill, he goes on to ask:

"You're God, John. But -- as the Edenites are fond of pointing out -- you were once a man. So whither that transition? Where does your power come from? Even if the Resurrection had been the greatest thanergy bloom ever triggered, it would drain away over time. And then Mercy said to me -- in a moment of true Mercy vileness -- she said, What is God afraid of?"

Proposition 2.1: The source of John's power is not exactly Alecto, but is Alecto-adjacent. Alecto is from the space behind the secret door.

2.1A) Alecto is called a saltwater creature (HTN p. 328).

2.1B) The oldest parts of Canaan House are where the power emanates from (citation needed, but I’m sure it’s there). They are also the parts closest to the sea. As Teacher says (HTN p. 110): "The base of Canaan House dates back to before the Resurrection. We first built upward, to get away from the sea; then we built outward, to strive toward beauty."

2.1C) The Sleeper is identified with Alecto. Like Alecto, she carries a weapon, she sleeps in a coffin, she can’t be killed, and the River bubble crew is warned that the worst and most cataclysmic thing in the world would occur if she were ever to wake up (HTN p. 112, 185). Since the Sleeper is so clearly identified with Alecto, and is also identified as the presence that’s haunting the River bubble version of Canaan House, it suggests the connection between Alecto herself and the physical version of Canaan House.

Proposition 3: John has dammed the River underneath Canaan House by trapping the Earth Resurrection Beast there.

3A) Per HTN p. 43, we know there's one missing RB, since 9-5=4>3.

3B) Abigail thinks something is messed up in the River and it's dammed, and spirits cannot get across. On HTN p. 396-397, she says:

“A spirit can be trapped, trapped as every spirit in the River is trapped . . . I think there is a whole school of necromancy we cannot begin to touch until we acknowledge its existence – I think these centuries of pooh-poohing the idea that there is space beyond the River has stifled entire avenues of spirit magic, and I believe the Fifth House is waning entirely due to us reaching a stultified, complacent stage in our approach . . . Something has gone terribly wrong in the River, Harrow, and I wish you’d find out what.”

She’s describing a dam in the River that traps ghosts there. This is extremely consistent with what Teacher tells Harrow about what’s down in the facility (see 3E).

3C) On GTN p. 213, Cytherea suggests that "something has been lurking [in the Canaan House facility] forever", and when Harrow insists that "[A spirit] cannot sustain itself", Cytherea replies: "But what if one could?" We know that Resurrection Beasts are revenants, and a revenant is a type of spirit; and if any spirit was going to be self-sustaining, it would be an RB.

3D) HTN p. 172: "The card up the sleeve of the revenant, and the Resurrection Beast, is that it can inhabit anything it's got a connection to. Anything thanergetically connected with their death." So what killed Earth? Climate change, plus a massive nuclear fission chain reaction. Historically, early nuclear fission chain reaction tests took place underneath the ground (see, for example, the facility at the University of Chicago). So an underground or underwater facility could very well be thanergetically connected to the death of Earth.

An RB may very well be a continuous source of thanergy; and if this is the case, John may want to kill or neutralize the other RBs to keep other people from rivaling his power. Or better yet: harness the other RBs the same way Earth's RB was harnessed.

3E) On GTN p. 152, Teacher literally tells Harrow that the ten billion are haunting the facility. Harrow says she is “repeating exactly – to the word—what Teacher said to [her]”:

“Down there resides the sum of all necromantic transgression. The unperceivable howl of ten thousand million unfed ghosts who will hear each echoed footstep as defilement. They would not even be satisfied if they tore you apart. The space beyond that door is profoundly haunted in ways I cannot say, and by means you won’t understand; and you may die by violence, or you may simply lose your soul.”

For those of you following along at home: ten thousand million = 10,000 x 1,000,000 = 10,000,000,000 = 10 billion, or the exact number of people who died in the Resurrection. This is of course completely consistent with the Earth RB being down there, somewhere in or under the facility, because the revenant of a planet includes the spirits of every living thing on it when it was murdered.

Proposition 3.1: Alecto is one of the physical anchors for the Earth RB.

3.1A) HTN p. 454: “The only sure way to banish a revenant is to destroy the physical anchor it inhabits before it can escape the shell.” If John’s cavalier is the physical anchor for the Earth Resurrection Beast, which is the source of his power, then this would justify the characterization of Alecto as the “death of the Lord”: if she’s a physical anchor and she is destroyed, then so is the source of John’s power.

3.1B) She was the first Resurrection, and it’s plausible that she would be thanergetically connected to the death of Earth.

3.1C) HTN p. 495: Pyrrha notes that the stoma “must think [John] is a Resurrection Beast.” Which is a super interesting mistake for the stoma to make! But if John’s cavalier is a physical anchor for a RB, this mistake becomes more understandable.

Proposition 4: The other side of the stoma is not a trash space, and John actually can access it. He uses it as a battery for his necromancy. It’s a storage space for RBs, and now I guess for Lyctors too. (this is the most galaxy brain proposition, and evidence is slim)

4A) On HTN p. 340, John says: “It is a portal to the place I cannot touch -- somewhere I don't fully comprehend, where my power and my authority are utterly meaningless.” But this is the kind of shit John lies about on the reg, so take what he says and apply opposite day rules.

4B) if the other side of the stoma is related to the River Beyond, it would be to John’s advantage to keep the Fifth House scholarship from treating the River Beyond seriously (see 3B). If they don’t take it seriously as a branch of scholarship, they can’t learn anything about it, and they can’t let the RBs out from where John is keeping them.

4C) this could be why John condemns soul siphoning (GTN p. 340). If soul siphoning sends the cavalier’s soul to the other side of the stoma, and the power that floods into the empty body is from the other side of the stoma, then soul siphoning threatens John’s monopoly on use of power.

This brings me to Theory #2, born out of a delightful discussion with @mayasaura: the heist in ATN is not going to open the Tomb at all. Instead, it’s going to open the part of the River underneath Canaan House, and the goal is to free the Earth RB. After all, the Tomb has been open for seven years already.

Extant questions:

1) Mercy seemed so sure that the RBs were coming back and targeting Alecto in particular. But Alecto stayed in the Nine Houses, and didn’t get eaten by any RBs, and the Ninth House is still there. So why does Mercy think Alecto is a target, or makes the rest of them into targets? If she was lied to, what is the purpose of this lie? 

2) Why does John want Augustine to hone the skill of following power back to its source?

3) If RBs eat Lyctors and both RBs and Lyctors are in the hammer space on the other side of the stoma, then, like… hey Augustine and Ulysses… are you guys ok??

[ootahime]

what is utahime’s role in the future? — a prediction (manga spoilers)

part 1 (unedited)

I WAS ABOUT TO POST IT BUT I ACCIDENTALLY DELETED IT AND I WAS SO HURT FR!!!!! I HAD REWRITE THIS ENTIRE THING </33

part 2 is here!

in this post, i will be analyzing the information we’ve been given about utahime so far to form a prediction about her future role in the jujutsu kaisen series. if you’re as interested in utahime’s character as i am, please feel free to keep reading :3 (i’ll also be talking about her relationship with gojo a bit too)

soukatsu_ on twt!

kaikaikitan on twt!

utahime iori is a semi-grade 1 sorcerer working as a student supervisor/teacher at kyoto jujutsu high school. she loves drinking beer and going to karaoke. she’s also close friends with shoko and she’s not particularly fond of gojo most of the time. what else do we know about her?

hates sweets (funny she’s the complete opposite of gojo)

she’s great at singing and it’s a huge part of her technique

squabbling with gojo became a reflex :3

everyone absolutely adores utahime

loves watching soccer and baseball

a terrible drunk (worse than naobito zenin)

gojo is her main source of stress

let’s dive into her personality and abilities!

chapter 65

before i get into it, i think it’d be best if i were to explain the timeline because a lot of people seem to be confused about this one particular thing. utahime is born on february 18th, 1987. contrary to popular belief, she is not 3 years older than gojo. it is november 2018 in the story because gojo was sealed on halloween. if gojo was born on december 7th, 1989, that would mean that right now, he is only 28 years old. he has yet to turn 29.

the year is 2007. gojo satoru is a second year at tokyo jujutsu high school. the japanese school year begins in april which suggests that gojo is only 17 at the time (even if it’s not april, it doesn’t look like winter yet so it’s unlikely that he’s already 18). utahime is 20 because it is past february. she is a 2nd grade sorcerer at the age of 20. that’s not bad at all!

chapter 65 introduces young utahime and mei on a mission together within a cursed site. in real time, they’ve been gone for two days which is a cause of concern for gojo, shoko, and geto because the two haven’t contacted anyone since the beginning of their mission.  the two begin to suspect something is wrong because the hallway markers they’ve set in place disappeared, and no matter how far they travel within the halls, the end is nowhere in sight.  mei theorizes that the cursed spirit is overlapping the space as they travel forward.  utahime agrees with this speculation and proposes a plan to escape the cursed spirit’s grasp by moving erratically.  notice how she says that if one of them should escape, they can try to attack from the outside or call for help.  if utahime was not capable of inflicting damage on anything then she would have told mei to escape and attack if she can while she waited to be rescued.  however, she didn’t.  she included herself in the sentence which leads me to believe that she is capable of going on the offense if needed.  

keep in mind that at this point in time, mei is a grade 1 sorcerer.  she is knowledgeable about all things involving jujutsu because she is experienced and skillful.  we can see this aspect of her character illustrated when she theorizes that the cursed spirit is messing with the space they’re in.  she chooses to go with utahime’s plan because she agrees that it’s the best action moving forward.  this verifies that utahime is an intelligent girl that’s able to get along with pretty much anyone.  

her intellect is demonstrated once again in chapter 79.  she was able to deduce the possibility of there being more than one traitor and the fact that one is probably a higher up.  she also narrowed down the mechamaru as the mole of kyoto not because he was acting suspicious but by process of elimination.  she thought thoroughly of his technique and how easy it would be for him to manipulate devices small enough to be undetectable.  

sure you can argue that she should already know all her students’ abilities and whatnot but you have to admit that it’s hard trying to sniff out the traitor when no one is acting suspicious.  in addition to that, how did she know that there was a traitor in the top brass?  i would have never guessed that tbh LOL (maybe bc im an idiot).

okay, now that we have established that she’s intelligent, let’s answer a more important question.  is utahime weak?

chapter 33

if gojo calls utahime weak, does that mean there is some truth to it?  well it is true that she is weaker than him because he’s the strongest and all.  in my opinion, he’s just teasing her.  he probably found that calling her weak is what really riles her up.  maybe i’ll talk about why he loves teasing her so much in a later post.  but anyway, gojo calls everybody and their mom weak.  he even said jogo was weak and we know how powerful that guy is.  gojo’s words alone do not indicate much about utahime’s power.  in fact, i don’t even think he has seen her use her technique yet.  he’s probably only ever heard of how it works.  this is what i think their conversation about her technique was like:

gojo: hm?  ur cursed technique is singing?  can u show me?

utahime: what!  no way!  

gojo: why not?

*one of the classmates tells him that she can only use her CT once in a while because it consumes a lot of energy*

gojo: hahaha!  u have to conserve cursed energy to use ur CT?  why are u so weak, utahime?

utahime: i!  am!  your!  senpai!  respect!  me!

what i’m trying to say is that gojo loves poking fun of people.  we should not believe him when he calls someone weak because compared to him, everyone is weak.  

this is a little off topic but let’s examine him telling her, “and you don’t have the nerves, utahime.”  i think he’s trying to say that there’s no way she’ll ever do something like that because she’s not the type to put her students in danger.  remember the soft expression and relieved smile on her lips when she said that she was glad the students were safe after the kyoto incident?  gojo was directly in front of her so not only did he hear her say that, but he could have seen the look on her face too.  even if he told her that she didn’t have the guts to betray the school to get on her nerves, he knew that utahime simply cared too much about the students so he ruled her out as a suspect right away.  this is why he ultimately decided to confide in her and ask her to help him.  

i’m a person who loves over-analyzing things.  i really enjoy the dynamic between gojo and utahime.  they’ve known each other for more than 11 years and although they always bicker, there is an unspoken feeling of trust between the two.  gojo can do anything and everything by himself because he is truly the strongest person alive, but he still knows when to rely on others.  him deciding to entrust utahime with such a job implies that he believes in utahime’s abilities.

chapter 52

she’s not using any cursed energy here--not to our knowledge at least.  this is just pure skill.  she was able to swiftly evade the swing from haruta.  he was surprised himself considering the fact that he was right behind her.  how do we know her CT isn’t speed?  after haruta swung at her, we can see that some of her hair got cut off.  if she was using her CT then speed should be her specialty.  she should have been able to completely avoid the attack altogether but she didn’t.  of course this isn’t a wow moment because jujutsu sorcerers should know how to dodge attacks, however, i’m just trying to get the point across that she’s not a defenseless person without her technique or others.  let’s not forget that semi-grade 1 isn’t a weak rank either.  you can’t simply be recommended to be a grade 1 sorcerer if you only can support others.  

chapter 48

i want to bring up this panel. it suggests that utahime and takuma are sorcerers who have not experienced black flash and therefore, do not understand the essence of cursed energy as well as those who have like gojo and nanami.  i find it strange how takuma and utahime were used to represent sorcerers who haven’t experienced it yet.  is the purpose to demonstrate that there is a clear difference in skill between adult sorcerers like utahime and takuma compared to gojo and nanami?  i could be nitpicking but the order of todo’s statement doesn’t line up with the sorcerers being shown.  let me explain in depth.  todo starts off by saying, “for those who have experienced black flash as compared to those who have not...” wouldn’t it make more sense to show gojo and nanami on the right side to represent sorcerers who have experienced black flash?  that was mentioned first, after all.  gojo and nanami should appear when todo says “for those who have experience black flash” while utahime and takuma should be shown right after to personify the second part, “as compared to those who have not.”  i’m just making it more complicated than it actually is LOLOL i’m sure it really just means they haven’t experienced black flash yet, which is completely fine.  i also find it fascinating how they used utahime to contrast gojo.  with nanami and takuma it makes sense.  nanami is someone takuma looks up to, he wants to gain nanami’s approval before he deems himself worthy of a promotion. what about utahime and gojo?  what’s the purpose of comparing those two together when it’s obvious that gojo knows more about the essence of cursed energy more than anyone else?  i might be delusional whoops

----

let me know what you guys think?  this is only a part 1 so i haven’t gotten around to answering the question.  i’m pretty much done with the second part, i just need to revise it a little.  i think after i post part 2, i’ll try to interpret all the gojo and utahime moments in the manga >.<

[phoenixtakaramono]

So I'm here to say that I really love your Bingyuan fic! The research you do for it and share with us is just amazing! I also have a q regarding LBG. From SV we know that he felt admiration for his Shizun so do you think that if SJ wasn't cruel to him LBG's admiration would've grown into love and attraction like it did in LBH's case for SY? Which then also raises a question: would LBH/LBG fall in love with any Shizun who was kind to him? Or was he just drawn to SJ's type of personality. WDYT?

Hi there, Anon! I’m glad you’re liking the Untold Tale! Thanks for reading! I think it lowkey helps when the story I’m writing (in general) is from a culture I’m familiar with and that I know some of its language nuances (just general Mainland dialect; I’m unfamiliar with Shanghainese, the Beijing dialect, etc etc). So fortunately for me, as someone who is Chinese but was born in the Western side of the world speaking Mandarin to family and friends, emulating the Chinese aesthetic and atmosphere in TUT comes a little bit easier to me than someone who did not grow up with this culture. I bet if I had been raised in China, I would be able to write something even more multilayered and deep but, alas, the youthful rebellious me of the past hadn’t taken my pinyin and Chinese character writing lessons seriously so I can only communicate verbally and understand audibly 😫. It’s very special for us writers in fandoms to be able to write a story of a culture that we actually know and can identify with. But high key it’s been immensely fun injecting some references of things I’ve come to notice from watching period C-dramas and the C-novels I’ve read, and I’ve come to learn interesting things about Chinese history and mythology even I didn’t know! So the story really writes itself.

Shen Jiu (OG!Shen Qingqiu)

To answer your question 🤔, to be honest this is why the SVSSS fandom is great—because there’s so many interpretations of the original source material. That’s why we have our headcanons and fanfictions to explore these many different possibilities. So for me personally, I can see it happening both ways: *1) LBG does develop a crush/falls in love with SJ, or 2) no matter how SJ treats him LBG regards him respectfully or coldly. I think Possibility 1 is more likely, since SY transmigrated into SQQ and we saw what happened with “Bunhe.”

Now, mind, for Possibility 1 to be more likely to happen, the SJ in PIDW will have to undergo a massive personality change/ a change of heart/ develop a good conscience and will need to clean up his image aka clear up the massive misunderstandings from PIDW canon (like him being mistaken as a pervert for Ning Yingying, visiting whorehouses, killing LQG, etc). It’ll be difficult though considering who Airplane has changed SJ into for his stallion harem novel (reading through SVSSS, my impression of PIDW besides it being the harem stallion novel is that it sounds similar to a “dog blood plot,” where audiences tune in to see how the villains are brought to justice). I literally have a line from TUT in a future chapter where SY says this about SJ since I will resurrect SJ and bring him into the story for closure:

People like Shen Qingqiu naturally had a set of deeply-rooted values. If one wanted to change them, it’d be easier to just have them reincarnate. (—TUT, ch???)

At his core, he’s a flawed man (which makes sense with the underlying cycle of abuse theory, considering his upbringing and backstory). He’s jealous and petty and prickly. His image is that of a proud and cold immortal. In Chinese terms, he’s the type of character archtype who I can see being àojiāo (definitely not canon characterization; this is just a stray thought that amuses me) in a romantic relationship.

LBH will have to recognize that^, or be in a position where he finds SJ’s caustic side endearing instead. He will also have to be extremely patient with him (although, since the joke in SVSSS is that LBH is an incurable M, it shouldn’t be that hard).

A fun thing about OG!SQQ is that he’s the cannon fodder scumbag villain of PIDW. He’s the reason LBG blackened from a white lotus. And, as you know, villains aka antagonists aka bad boys resonate strongly with people for a reason. That’s why we see a lot of Enemies to Lovers tropes, etc. It squicks me to use this phrase but “the allure of dating a ‘bad boy’ is strong.” SJ is that type of bad boy we could identify as a “fixer-upper project” (ugh, that phrase)—even with the red flags and warning signs—especially for those said to have a troubled past with rejecting neglectful parental figures/ family members/ friends and have have not outgrown their wish to convert that sort of person into a loving, accepting person. When we want something we can’t or shouldn’t have, our desire for it grows exponentially. In fanfiction this is a concept writers and readers can explore safely in a world of the imaginary.

From a Meta Perspective

Although, if we look at it meta-ly, the cold and proud and/or knowledgeable Shizun (teacher/ master) character who comes to know love and “is redeemed” by whomever is the love interest (typically a cute and quirky girl who may or may not have started off as naive to the innerworkings of the Cultivation World and therefore needs an established and mature mentor to guide them) is a very well-known archetype for a reason in Chinese fan culture.

Seeing a terrible person change their ways and try to become a better person because of the influence of the one they love is also a popular depiction for a reason.

It’s almost like gap moe. The crueler and aloof one starts out as (arrogance is a staple), the more impactful the shift is when we see such characters soften their edges.

The draw of the sacred master/disciple relationship is that it’s taboo, so I think it’s fair to say that such a relationship in fiction is a popular trope precisely because of this aspect. From a writer’s perspective, the main appeal is to show that there is someone out there who can cause this respectful figure to lose control (undergo emotional change) and go to great lengths to protect his/her precious person. That precious person also has to fall into the “not like other girls” trope (so they can show the ML a different world he would not have seen the beauty of before). On the other side, we look forward to the point of the story where the love interest has their “Oh” moment and realizes their admiration has somehow shifted into love and attraction over the course of events.

Other Romantic Possibilities

It’s very likely. I personally like the fanon headcanon where anyone with Heavenly Demon blood running through their veins feels a compulsion to “obsessively fixate on one person” (TLJ —> SXY, LBH —> SQQ). Personally I don’t recall if this was canon or fanon, but someone had written something about LBH imprinting on one person in his lifetime on the account of his demon nature. And I like that theory (I think it’s likely more fanon than anything but it’s an intriguing idea full of possibilities!).

For him to fixate romantically on one person, I personally don’t think the prerequisite is just by being kind to LBH (but it probably adds to the person’s appeal). There’s probably other factors that go into this to capture the male protagonist’s eye, such as him finding someone attractive (or passes his own personal standards) and/or having good chemistry with that person. So I could see him being into other Shizuns and whomever else. Personally I also think there is appeal in the unobtainable. It’s one thing to have someone’s affection (see LBG and his harem of 600 wives who definitely aren’t shy about giving him affection), but it’s another to know you’ve earned the affections of someone you really like and respect (especially if it’s someone thought to be unobtainable).

As long as the writer can provide a plausible justification for me to suspend disbelief and they set up events to justify it, I can swallow just about any ship possibility. It doesn’t necessarily have to be SJ’s type of personality. (For example, I read a very good fanfiction before where the writer paired Luo Binghe with Ming Fan. Ming Fan, people!!! And they actually pulled it off! What a madlad! Mind, it’s Shen Yuan who had transmigrated into MF in that premise, but the writer set up events that showed how these two characters came to bond and develop a deep friendship which inevitably had LBH developing a crush on his shixiong. I use this as an example because this is the type of unexpected (crack)ship, but because the writer did their work trying to make it seem plausible, we can only admire their hard work and effort at pulling it off.)

As the saying goes, there are plenty of fishes in the sea! As the protagonist, LBH/LBG can have many OTP possibilities with just about anyone as long as the writer can make it plausible. It’s all about the character development and the story/ central themes they wish to tell with the ship!

(Note, these really aren’t hot takes, lol. I’m just having fun answering to this casually from the perspective of a writer. Thank you for your Ask, anon!)

[gffa]

THE JEDI AS NATURAL, INSTINCTIVE TEACHERS IS A FUNDAMENTAL TO WHO THEY ARE AT THE CORE.  For @jedijune​‘s theme for Saturday, June 13th: Teaching/Learning

Taking a Closer Look at the Jedi Order in Star Wars Canon [Meta/Reference Guide]: Chapter 3: Teaching Is A Central Theme To The Jedi

Teaching is a central theme to the Jedi:     Obi-Wan:  “You’d make a good teacher.”     Anakin: “No thanks.”     Obi-Wan: “Anakin, teaching is a privilege. And it’s part of a Jedi’s responsibility to help train the next generation.” [Star Wars: The Clone Wars movie]

“Master Yoda said we never stop learning.  Perhaps the Master is meant to be as much a student as the Padawan.  I may not be the teacher that Qui-Gon was.  But I am the one that Anakin has.”  (–Obi-Wan Kenobi, Age of the Republic: Obi-Wan Kenobi #1)

Henry Gilroy and Dave Filoni on establishing Yoda as a teacher early on:      Gilroy:  "There were elements that we really wanted to explore, and that was things that were classic to Yoda, as a teacher.  We thought this was a great opportunity to show how the Jedi interact with the clones.  Specifically Yoda in a teaching role, of the clones, who were socially new, who were created to fight, and he really broadened their horizons, and helped them realize there was a great big universe out there that was bigger than just fighting and killing.“      Filoni:  "You see Yoda teaching the clones, much like he taught Luke, ‘cause that was kind of natural for them, a natural instinct to take these clones like their students. And it really allowed Yoda to have a scene that was reminiscent of a scene we both liked growing up, when he was teaching Luke.”       (Star Wars: The Clone Wars, “Ambush” commentary)

George Lucas on education (who believes it is the most fundamental issue):      “Plato didn’t teach [in the sense of drilling answers into them] people anything. All he did was ask questions.  The process was asking questions–'Why is the sky blue?’  It was purely a reverse of us feeding you all the information and [instead] teaching the kids how to learn.”       I find this is often the answer for why Yoda or the other Jedi don’t just lecture on the answers re: Force theology, because the narrative believe/creator’s belief is that it’s more important to teach how to ask a question than to drill in an answer.  A direct example is Yoda’s teachings to Ahsoka in “Teach You, I Will” getting her to think for herself and how George Lucas talks in an Empire Strikes Back documentary about Yoda’s bizarre speech patterns being about getting the audience to really stop and think about what the weird little frog man is saying.

JEDI PHILOSOPHY + TEACHINGS:

The Jedi did not see themselves as infallible or that failure was something any of them could avoid, even for their most esteemed Council members:     Depa Billaba:  "We cannot deny, Masters, that I failed you.  Failed you on a massive scale.“     Obi-Wan Kenobi:  "A lack of failure has never been a prerequisite to service, else none of us would be here.  Welcome back to the Council, Master Billaba.”  [Kanan: The Last Padawan]

The Jedi do not see themselves as a source of the light side of the Force, but rather the other way around.  In Darth Vader: Dark Lord of the Sith, Jocasta faces off against Vader and says:     “You are [Palpatine’s] tool.  Little better than a droid, set to stamp out the light side of the Force.  But this is impossible.  The Force is eternal.  It cannot be ended, it cannot be stopped, not so long as life exists.“ showing that, even if all the Jedi were dead, they knew that the light would still find its way in the galaxy, because the Force is eternal, the Force is in all life, the light is in all life, so long as that life exists.

“The Jedi can guide.  We can teach.  We can help people to help themselves.  But we are not an army.  If a people are truly determined to write themselves out of existence, there is little we can do.” [Obi-Wan & Anakin]

Questions are shown as natural and a good thing:     “A child, Anakin remains.  His path before coming to us, difficult.  His questions, natural.”  [–Yoda, Obi-Wan & Anakin]     "I have no issues with Anakin.  He is asking questions, as he should be at his age.“ [–Obi-Wan, Obi-Wan & Anakin]

It’s not just younglings that should be asking questions, but everyone:     "Answers, did you find?”     "I did.  And as often is with the Force, more questions.“     "Mmmm.  Good, questions are.  Ask them we must.  Certainty in our understanding, to arrogance it leads.  To the dark side.” [–Yoda, Qui-Gon, Age of the Republic - Qui-Gon Jinn #1]

Questions and determining your own path tend to be a big theme with the Jedi, that everyone must determine what they want for themselves, what they understand the Force has laid out their path to be and whether they want that, like with the above, and when it’s woven into the very decision that Ezra has to make, that Kanan can’t just tell him what to do on this:     “Which way is the right way?     “The wrong question, that is.”     “I’m sorry. I don’t understand. To be honest, I don’t even know what I’m doing here.”     “A better question, that is.”     “Kanan said I was gonna be tested, but he never said what for or why.”     “And your Master tell you everything, must he?”     “Well– No.”     “Your path you must decide.”  [–Ezra and Yoda, Star Wars Rebels, “Path of the Jedi”]

Obi-Wan taught Anakin that things should not be trampled just for acting according to their nature, instead (when they can) use the Force to move them along:       "These beasts are nearly mindless, Anakin.  I can feel it.  They are merely following their nature, they should not die simply because they crossed our path.  Use the Force to send them on their way.”  [Obi-Wan & Anakin]

Henry Gilroy says a similar thing with:     "Obi-Wan truly is a Jedi in that he’s like, ‘Okay, I’m not going to murder these creatures [in the Ryloth arc of The Clone Wars].  They’re starving to death.  They’ve basically been unleashed against these people as a weapon, but it’s not their fault. They’re just doing what they do.  They’re just animals who wanna eat.’  [Aggressive Negotiations Interview]

Ezra says he saw his parents and Kanan tells him what the Jedi teach:      "I saw them, Kanan. My parents. I-- I can't explain how."      "The Jedi teach that life doesn't cease at death, merely changes form in the Force. Your parents are alive inside you, Ezra. They will be. Always."  [Star Wars Rebels, "Legacy"]

JEDI AND THEIR STUDENTS:

A great emphasis is placed on teachers and students working together:  “Yoda cocked his head. ‘Adapt he must as well. Cooperation is learned not through individual effort. Only together can you progress.’” [Master and Apprentice] Yoda also says the bond between a Master and a Padawan is sacred.  [Dooku: Jedi Lost]

Jedi are never really done being students/being tested, even when they become teachers and Masters themselves, that students teach Masters just as Masters teach students, and their tests reflect this:   "But surely I should have been informed if you were testing my Padawan?“     "Who says the lesson was for him?” Bant said, smiling at her old friend.     Obi-Wan’s jaw dropped.  "You were testing me?“     "For both of you, the test was,” Yoda told him.     Mace nodded.  "A reminder that while Padawans must listen to their masters…“   "Teachers must also listen to their pupils,” Bant concluded.  [Choose Your Destiny:  Obi-Wan & Anakin]

“This is why we study.  Why we learn.  Skill is the child of patience.“  [Obi-Wan & Anakin]

"Your mission was never about [bringing back] the book.  It was about everything you did to find it.  All the challenges you had to face along the way.  And you overcame them all.”  "It was a test.“  "It was a journey, the next step in your training, and you succeeded in every way that mattered.” (–Luminara Unduli, Barriss Offee, Star Wars Adventures #20)

EARLY JEDI TEACHINGS/JEDI PHILOSOPHY 101:

As an overview of what Jedi teach as the early and foundational lessons, across multiple media, we see that meditation and self-reflection are just as important as bonding with their sacred crystal and practicing with their lightsaber, which then also connects with how so much of the early teachings Kanan gives Ezra when they're just starting are just as much/more focused on connection and understanding of self.  (As detailed below this!)  [Age of the Republic: Obi-Wan Kenobi + Kanan: The Last Padawan + Obi-Wan & Anakin]

One of the very first training sessions we see Kanan giving to Ezra–and thus informing our understanding of the foundations of Jedi teachings–is to have Ezra doing a handstand and tells him to, “Focus.  Focus on letting go.”  Eventually, trying to toss objects at him to get him into letting the Force move through him, hear its whispers instead of shouting at it.  Before Kanan brings out his lightsaber to practice with, he wants Ezra to first mentally focus.  [Star Wars Rebels, “Rise of the Old Masters”]

Another one of the earliest lessons Kanan teaches Ezra, putting it as one of the foundations of Jedi teachings is how they're connected to other beings:     “Step outside of yourself. Make a connection with another being.” as he teaches Ezra to connect with a loth-cat.       “I just don’t see the point of this.”     “The point is that you’re not alone. You’re connected to every living thing in the universe.”  [Star Wars Rebels, “Empire Day”]

When Kanan first starts training Ezra, he repeats Yoda’s saying of, “Do or do not.  There is no try.”  When Ezra questions it, Kanan says that he really doesn’t understand it, either.  By the end of the episode, after Kanan realizes Luminara can’t train Ezra, that he has to commit to Ezra instead of half-assing this, he says:     "I– Ezra. I’m not gonna try to teach you anymore. If all I do is try, that means I don’t truly believe I can succeed. So from now on, I will teach you.“  [Star Wars Rebels, “Rise of the Old Masters”]

Another early lesson is that Ezra must be honest with himself to advance as a Jedi:     “Ezra, you’ll never advance as a Jedi if you can’t be honest with yourself, at least.”     “What’s that supposed to mean?”     “It means Tseebo matters to you. You do care what happens to him.” [Star Wars Rebels, “Gathering Forces”]

Which is then reaffirmed later in that same episode:     “I got news for you, kid. Everyone’s afraid, but admitting it as you just did makes you braver than most, and it’s a step forward.” [–Kanan Jarrus, Star Wars Rebels, “Gathering Forces”]

Ezra has trouble moving forward in the first season because discipline and focus are fundamental to being a Jedi:     “But you said I was a Jedi. Why else would you be training me?”     “I never said you were a Jedi. I said you had the potential to become one. But you lack discipline, focus.” [Star Wars Rebels, “Path of the Jedi”]

JEDI CULTURE:

Jedi younglings (at least the diurnal ones) wake at dawn to meditate on the three pillars–the Force, Knowledge, and Self-Discipline.  Then they go to the refectory for lunch, where Dooku always likes to sit next to Sifo-Dyas. [Dooku: Jedi Lost]

The Jedi have a strong aesthetic that echoes the deepest parts of the Force–all circles and lines.  Time and the Force and the Jedi are all connected circles and arcing lines.

“You must not grow too attached, too fond, too in love with life as it is now.  The emotions are valuable and should not be suppressed… but you must learn to rule them, Padawan, lest they rule you.“  (Kanan: The Last Padawan)

“This man is perverting our sacred teachings to prey upon a vulnerable people.  I can think of little my tongue could say better than my saber in this instance.”      “Dissolve your hostility, Padawan.  Channel your frustrations into an appropriate emotion.  Violence, as always, is a last resort.”      “Of course.  Apologies, Master.”      “A fire burns inside of you, Padawn.  That, in itself, is not inherently wrong.  It is my job to help you temper it.” [Jedi of the Republic - Mace Windu]

JEDI AND FACING THE DARK SIDE:

“The fact that everything must change and that things come and go through [Anakin’s] life and that he can’t hold onto things, which is a basic Jedi philosophy that he isn’t willing to accept emotionally.”  (George Lucas, Attack of the Clones commentary)

The Jedi test from the Rebels episode “Path of the Jedi” novelization on facing their fears/the dark side within them:      "This test was not designed solely for the apprentice.  It was also a test for the master, for facing one’s fears was a lifelong struggle.” (Ezra’s Duel with Danger)

The test is specifically designed by the Jedi–as is the same test on Ilum for the Jedi younglings that they all had to face–to face their fears, because it didn’t just happen one time, it was something they faced all their lives, younglings and Knights and Masters, all of them.  This is why Ezra has to face it in Rebels, why Luke has to face it on Dagobah, why Rey has to face it on Ahch-To, the Jedi have always had to face the darkness within themselves and work beyond it.

Kanan also says it plainly as they enter the Temple:        “In here, you’ll have to face your worst fears and overcome them.” It’s pretty obvious that’s what happening when the Temple shows him a vision of the Grand Inquisitor killing Kanan and Ezra has to pick himself back up, admit what he’s feeling so he can face the fears again, and understand that he has to let them go and then it cannot hurt him here, the Grand Inquisitor’s blade passes right through him.  It’s then Yoda’s voice calls to him and we see that Ezra letting go of those fears allow him to move forward:      “Big fears have you faced, young one.”      “Yes.”      “Hmm. For what lies ahead, ready are you?”      “I am.”      “Come. See more clearly what you could not see before.” [Star Wars Rebels, “Path of the Jedi”]

When Cal is struggling with facing his fears and needs to create a new lightsaber, Cere gives him a pep talk and they head off to Ilum, where she tells him:  “You will be tested.  I don’t mean just here [on Ilum].  Every Jedi faces the dark side.  And it’s very easy to fail.  We will always struggle.  But that is the test.  It’s the choice to keep fighting that makes us who we are."  [–Cere Junda, Jedi: Fallen Order]

THE THEME OF GEORGE LUCAS’ MOVIES:

George Lucas says, “All of my movies are about one thing.  Which is the fact that the only prison you’re in is the prison of your mind.  And if you decide to open the door and get out, you can.  There’s nothing stopping you.“ –George Lucas (American Voices, 2015)

Which is reflected in the teachings of the Jedi, which further shows they’re in line with the narrative intentions of Star Wars:   Petro:  “You-you said we would be trapped.”   Yoda:  “Not by the cave you were but by your mind. Lessons, you have learned. Find courage, you did. Hope, patience Trust, confidence, and selflessness.” (The Clone Wars, “The Gathering”)

[sometimes-men-need-help-too]

What does modern feminism do that you don't agree with? This is genuine btw

A couple things before I start: 

- This is not meant to bash all the feminists out there unless they fit into what I’m saying. I know there are good feminists out there 

- When I say ‘you’ I’m not meaning you, I’m saying it in a general way 

-I hope I get my point across and it’s clear. I sometimes struggle with that 

Also I’m sorry this is so long and it’s in no particular order and I hope none of this comes across as being aggressive or anything

~~ 

A lot of my issues with the movement boils down to attitudes. To me, that is very telling of its true colors. And I do try not to necessarily judge an entire movement from just the bad people because I know that isn’t fair, although I do feel like the bad feminists have taken over the movement and end up drowning out the good voices and that’s why we hear more negativity than positivity. 

One thing that I have issue with the lack of respect towards those that disagree whether it’s with the movement itself or it’s a particular thing. For a movement that preaches about a woman’s choice, I don’t feel that really happens like it should. I don’t know, maybe I’m wrong here but depending on what the topic is I get a general impression like you’re not really supposed to disagree with what’s being side. You do and you might have someone lash out at you (that’s another point I have). Or if you say you’re anti feminist, you have people coming up with these reasons why they think you are; one being internalized misogyny  and you get called a pick-me which I find a bit insulting.  I should be able to have an opinion without someone assuming I’m trying to get a man’s attention or I can’t think for myself or I hate other girls. That isn’t it! Wouldn’t you think that is misogynistic? 

And if it’s not  internalized misogyny, then there are other factors; her being white (which usually then goes on to sound racist)  or it’s because she has money or  internalized racism or whatever they come up with. And it sounds condescending and that just bugs me. Hey, maybe instead of some underlying reason, we just don’t agree. 

or you have people try to stick the label on anyway. 

‘If you believe in equality you’re a feminist’

The label means nothing. I don’t understand why some will focus on this so much. I don’t want to be called a feminist. I don’t need to. In the same way, it’s not necessary for me to refer to myself as an MRA (men’s rights activist). And yeah, I know this says it’s an “MRA blog” that’s what I had when I started. But ultimately, the label isn’t important. I’m all for equality. It’s cool, it’s great. But I see this sort of thing (online that is) being forced on people and the thing is, with that wording it makes it sound like the movement is all inclusive when it’s not. You have to have certain politics and for the most part (unless you’re a religious feminist) you have to be pro choice otherwise you’re not a ‘real’ feminist. 

My next issue is all the aggression. You can just tell sometimes with how people respond online or if you catch a video that someone posted. And not only that, but how quickly people fall into name-calling or just all around acting like a child. And for the most it seems pretty acceptable to some because it keeps happening. It’s not hard to find on this site or otherwise. If you can’t communicate your opinions about something without having a fit or blocking someone (excluding if they just keep harassing you) then you’re not mature enough. That shows me you don’t really care about having a real discussion. And some can say that it happening on here is probably done by teenagers and to an extent they’re probably right. But it happens on other sites and in real life as well and it’s more than just teens. It’s people my age and older and that’s not cool. 

And then we have  how some like to ignore the differences between men and women. Sure, yes, there are many things a woman can do just like a man but we also have to acknowledge our differences.  I don’t see a lot of that with some forms of feminism. STEM, for example, is something I would attribute the differences more to just how men and women tend to be rather than sexism. Could there be certain circumstances where it is sexism? Sure, I suppose you can’t rule it out entirely. Otherwise I would say it’s just what they’re happy doing. I know girls who are doing science stuff or business things but I also know girls who are going to be teachers or psychologists or nurses. It’s not that they're actively being told by everyone that they can’t do it(I suppose unless they live in some other country like that). That’s just what they want to do, you know, their choice. Just like how some men go towards a job like with computers or farming or they’re pre-school teachers or gynecologists.

 I found an interesting fact (source will be posted below) that said women are actually preferred over men two-to-one for faculty positions. The study was done by psychologists from Cornell University with professors from 371 colleges/universities in the US. It also noted that: “recent national census-type studies showing that female Ph.D.s are disproportionately less likely to apply for tenure-track positions, yet when they do they are more likely to be hired, in some science fields approaching the two-to-one ratio revealed by Williams and Ceci.” 

Yet, we need to ask ourselves honestly, how often do facts like these get passed around vs the idea that women are suffering from misogyny and therefore are unable to fully represent in STEM jobs? 

The next thing I want to address is misandry. Now there are a good portion of people who don't think it exists or if it does, it's really not much of an issue because of the "power" and the "privilege" men have within society. And to me, I have a problem with that. If feminism is supposed to be for men as well, I would think they would want to combat misandry as well as misogyny. If someone really doesn't think it exists, I would suggest that the person really take a look at what goes on in real life and online that's directed towards men.

There's the whole "male tears" thing which is on coffee mugs and t-shirts. There's the kill all men/yes all men thing. All of which are supposed to be jokes and if a man says something about it he gets mocked for his "fragile masculinity"

That's just not okay. They're being immature and a bully which they usually try to justify (men have done this and that throughout history to women) but you just can't.

I found this article, this really really atrocious article. It's one of those open letter things and found on this feminist website (feminisminindia) and I almost believed it to be satire with how.... stereotypically Tumblr it was. I did research and looked at the info regarding the site and nope, it's a serious site. I'll post the article below but I'll also summarize it:

Basically this woman is telling the men in her life that she will not stop saying "men are trash or other radical feminist opinions." She's saying it because women and others have suffered so much at the hands of the patriarchy because they're not straight white men. She goes on to say:

So let’s establish: misandry isn’t real. Just like unicorns and heterophobia, misandry is a myth because it isn’t systematic or systemic. Unlike misogyny, cis men don’t face oppression purely based on their gender. While they may encounter instances of racism, homophobia and ableism, they are not dehumanised as a function of their gender identity (read: cis privilege).

That is wrong. Absolutely wrong. Misandry is real. "Cis" people do face oppression purely based on their gender. Anyone can. To deny that lacks understanding.

And the rest is just saying that: It is time to start hating on men-as-a-whole and starting celebrating the men that you are.

And: Because at the end of the day, feminists need men. Whether it’s because you wield structural power or because we genuinely value your existence, we need to band together to destroy ‘men’ because men are trash, but you, if you made it to the end of this, are probably not. Prove me right.

I would imagine this is a common viewpoint. And it's not a good one. If you genuinely think a whole group as a whole is bad you need to reexamine your thoughts. It's not "men" that are bad, it's the sexist people.

To wrap this up (I'm sure you might be tired of reading this lol); like I said, the attitudes play a huge part of it. Modern feminism, in my opinion, is just not good enough for me to say I agree with it and want to identify as one. I just can't

Here is the link to the feminist article: https://www.google.com/amp/s/feminisminindia.com/2020/09/23/men-are-trash-and-other-radical-feminist-opinions/%3famp

And here is the link for the STEM thing: https://news.cornell.edu/stories/2015/04/women-preferred-21-over-men-stem-faculty-positions

[thecaffeinebookwarrior]

Monster of the Week: The Undead!

From spooky scary skeletons to the original zombies, let’s have a look at the undead who have risen around the globe! This will not include vampires (which I have already compiled a post on) or ghosts (which I plan to compile a post on.)

Note that many of these can best be understood -- or only understood -- in their original cultural context, and I encourage you to continue your research if the lore interests you.

Skeletons/Skeletal Creatures

I am, for whatever reason, enthusiastic about skeletons. There’s a drama to them. They look like they’re perpetually grinning, or grimacing, which makes them oddly relatable. As an artist, I’m always thinking about them as the framework for poses. 

More importantly, there’s one in all of us -- sorry if that made you uncomfortable -- which makes them a universally recurring being in global folklore. Let’s take a look at just a few.

Gashadokuro

Literally translating to “rattling skull,” the Gashadokuro is also called Odokoru (giant skull) or simply “the hungry skeleton.” That basically tells you all you need to know. 

These big boys (and I mean REALLY big) wander around the countryside at night. Their name derives from the eerie rattling noise produced by their giant skulls. As chill as this may sound, the Gashadokuro is not actually chill at all, and if you come across them they will not hesitate bite your head off. This may seem like a jerk move, since they don’t even have a stomach, but they need the energy of the living in order to sustain themselves.

Like most undead fellas on this list, the Gashadokuro has its origins in the real world. They are thought to originate from the mass-graves, usually of those who died under violent or inhumane circumstances, the supernatural byproduct of countless skeletons. 

The first Gashadokuro was thought to have originated after a specific bloody rebellion, in which the bereaved, sorceress daughter of a samurai summoned a giant skeleton from the mass grave of the rebelling soldiers and used it to attack the city. Queen behavior, if you ask me.

Santa Muerte

Image Source

Let’s conclude this portion with my favorite skeleton (excluding Baron Samedi, who doesn’t count, as he is often depicted as a man, or a man with a skull-like face), the goddess/folk saint Santa Muerte.  

I still have a lot to learn about the rich folklore surrounding Santa Muerte, but to my understanding, she was born of a combination of pre-Columbian Indigenous religions and Mexican-American folk Catholicism. 

Depicted as a skeleton in beautiful, feminine attire and considered to be embodiment of death, Santa Muerte is a healing and protective figure. She is beloved by legions of worshippers, despite condemnations from the Catholic church, and symbolizes a culturally positive relationship with death. 

Despite appearances, she is a life-affirming figure.

Zombies and Reanimated Corpses:

The Draugr

When we hear “zombie,” we don’t traditionally think of “Norse mythology.” And yet, the Nordics had their very own zombie mythos, boasting some truly terrifying undead.

It is said that they first emerge from their graves as little more than wisps of smoke and a stench of decay, before adopting a humanoid form that boasts superhuman strength, the ability to change size at will, and the ability to shape-shift. 

They aren’t mindless -- far from it. They boast an anthropomorphic intelligence, which makes them all the more dangerous.  

As to what drives them from their graves? Jealousy and bitterness towards the living. Relatable, honestly. 

The Jiangshi

(Note: I wish they were all as adorable as the one in this gif.)

This Chinese hopping corpse may have evolved into more of a vampire by Western influences, but it was originally far more zombie-like. And a unique zombie at that. 

Due to rigor mortis, the Jiangshi hops stiffly from place to place, holding its arms straight out. What’s even more singular is their origin. Try to guess. Go ahead, try. You won’t be able to.

The Jiangshi is what occurs when a bereaved family, lacking the proper funds to send their loved one’s body back to their ancestral land for burial, hires a necromancing corpse driver to reanimate the cadaver and guide it as it hops back to its resting place. They’d travel at night to avoid or minimize decay, either prodded by a stick or to the beat of a drum.

Other ways to create a Jiangshi include improper burial, suicide, or possession.

Looking upon a Jiangshi is said to be bad luck, and presumably very unpleasant. However, the real problem is their insatiable appetite. 

But fear not: if you see an unhealthy looking fellow hopping towards you with pasty, possibly decaying skin, you can protect yourself with mirrors, the hooves of a black donkey, or the wood of a peach tree. They can also be scared off by the sound of a crowing rooster, though that would require a bit of planning, and the cooperation of the rooster in question. Which, knowing roosters, is unlikely. 

Haitian Zombies

All legends of the undead have roots in real tragedies, but this one is particularly upsetting -- and the source of the zombie legend in the Western world today.

The enslaved people of Haiti believed that death would set them free, sending them back to an idyllic version of their homeland unburdened by colonialism. But only if death came naturally. Suicide would turn them into mindless husks, carrying out the drudgery of their captors. A haunting parallel to the practice of slavery itself. 

The concept was introduced to a contemporary audience by the 1932 film White Zombie, which sees a white “voodoo master” (who clearly didn’t know anything about the actual Voodoo religion) using witchcraft to create obedient slaves. He eventually uses this (ahem) “”voodoo”” on a white woman to try and force her to fall in love with him. 

With the term “zombie” in public consciousness, it became an applicable allegory for all of society’s ills, and can now be used to refer to anything from mob mentality to consumerism. But few are as haunting and as disturbing as its origins.

Videos on zombies: 

The Origin of the Zombie, from Haiti to the US

Where Zombies Come From

100 Hundred Years of Zombie Evolution in Pop Culture

Best Contemporary Zombie Movies*

*That I know of. Will update with more.

Night of the Living Dead - Though White Zombie introduced the term, it was arguably this film that popularized zombies as we know them today, particularly as an allegory for herd mentality and consumerism. Its successors, including Day of the Dead and Dawn of the Dead, prove similarly influential. 

The Evil Dead Trilogy - Established that zombies can be fun, while also serving as an allegory for various societal problems. Also features undead that are refreshingly ravenous and evil without necessarily being mindless.

The Re-Animator - These days, the average zombie movie pushes the bounds of creativity is “make ‘em faster!” The Re-Animator’s take on the genre, however, would make Mary Shelley proud. Based loosely on the Lovecraft story, “Herbert West - Reanimator,” the films greatest triumph is its ability to have fun with its grisly premise, and compel the audience to have fun, too. It’s also a cautionary tale about why it’s important to be careful while getting a roommate. 

Shaun of the Dead - I’m not kidding. This film is great, and shows that you don’t need a serious tone to be heartfelt, scary, or provide a thought-provoking social commentary. Way back when I was a sixteen-year-old college freshman, I turned up to class as a zombie cheerleader, and my psychology professor recommended Shaun of the Dead to me. She’s a woman of impeccable taste, and it did not disappoint. 

28 Days Later - Before Cillian Murphy gave us Tommy Shelby, a gangster so pretty he could give Al Capone a sexual identity crisis, he was proving his mettle in the zombie-addled UK. For 2020 reasons, watching him wander the abandoned streets of London with a questionable haircut feels very topical. Add a stellar performance from Naomie Harris, and there’s a reason it sent me into a bisexual panic it’s considered a modern classic of the genre. 

Little Monsters - An egregiously underrated flick, featuring a kindergarten teacher (who happens to be, you know, Lupita Nyong’o) protecting her class during a zombie outbreak. A must watch if you want a zombie movie with a powerhouse lead, a happy ending, and perhaps the most badass kindergarten teacher in cinematic history. 

[jedi-order-apologist]

A Refutation of Telltale’s “Is the Jedi Order a Cult?”

I was directed to this video that claims that the Jedi Order is a cult during a discussion on reddit earlier, and while the person who linked it respectfully asked to end the discussion we were having, I figure the video is worth addressing on its own, separately from that discussion. So I’ve cleaned up the points I made over on reddit and stripped out the stuff relevant to that conversation, to explain just what I took issue with with this video.

To the video-maker’s credit, he does acknowledge that the Jedi are presented as correct within the narrative of the films. Having run into one too many “the point of the prequels was the flaws of the Jedi” across the Internet, I have to say it’s refreshing to see Jedi-critical arguments made without that assumption.

I still disagree with pretty much all of the points made in the video, and found it to be uncharitable, blatantly incorrect at times, and almost completely lacking in concrete examples and evidence of his claims, but he has a right to his own interpretations, especially in that he acknowledges that they’re not the intended takeaway. But I hope that my response will show that it’s not something actually reflected by the source material, and that the Jedi are not actually a cult, even setting aside creator intentions.

Disclaimer – I’m not familiar with this video-creator’s other work, but from what’s said in the video, it does seem that this isn’t his usual kind of material, and that he intended this as “lighthearted” video. With that in mind, its lack of robustness and misinformation is forgivable – this response is mostly meant as something for me (or you, if you want) to point to the next time someone brings this video up to support their position, not as a criticism of this video-creator or his work in general. If you choose to engage with the video directly, please be kind.

He begins his arguments by claiming that the Jedi erase people’s identities by having them block their emotions completely - this isn't true; what we see the Jedi say is "be mindful of your feelings" (Mace Windu, TPM), and "don't let your personal feelings get in the way" (Obi-Wan, AOTC), and "don't let your feelings cloud your judgement" (several times). All of that requires acknowledgment of one's emotions and dealing with them appropriately.

He then claims that those who leave are shunned - this is again, blatantly untrue. For instance, at the beginning of AOTC, Dooku is still spoken of highly long after he has left the Order - the Jedi are reluctant to even entertain the idea that he could be behind the attack on Padmé. The Sith are for one thing, not necessarily ex-members of the Order, and for another, they’re "shunned" because they're going around torturing and murdering people, not because of heretical views on the Force. We see in TCW that the Jedi Order co-exists peacefully with other Force traditions, even dark-sided ones like the Nightsisters.

Another claim he makes is "There aren't any checks and balances for the Jedi Council", which is again, untrue - the Jedi are accountable to the Senate, and, if anything, that arrangement is skewed in favor of the Senate, because the Senate is not truly accountable in turn. The Jedi Council is ultimately pressured into decisions against its will, especially as the war goes on – most notably, Anakin’s appointment to the Council in ROTS.

He is critical of the Jedi taking in children, but the same can be said of any adoption - simply taking in children is not, in of itself, cult behavior, or else every adoptive family is a cult. The approach the author of this video takes to this category is too broad and does not adequately establish how to distinguish cults preying on children from healthy child-rearing.

He then claims that Jedi are expected to obey unquestioningly – but I disagree that this is evidenced in the source material. The Jedi are expected to respect their elders but we don't see harsh punishment for disobedience or dissent, merely disapproval. For instance, the most trouble Qui-Gon, as a noted maverick, gets is some exasperated side-eye. Similar to the previous claim, the approach the author takes is too broad and doesn’t distinguish a cult’s expectation of obedience from a parent’s expectation of obedience.

He claims that the Jedi control clothing and hairstyle - this is misleading at best. While the padawans all are expected to wear the braid, the hairstyle isn't set beyond that (many species don’t even have hair!), and even with the Jedi sporting a traditional outfit, we see their robes and tunics come in many different shades and colors. Some forgo the traditional robes all together, such as Ahsoka Tano, Luminara Unduli, Aayla Secura, some of them even wearing the ornamentation of their homeworld cultures on top of that (again, Ahsoka, Luminara, and Barriss Offee, and Depa Billaba, and Shaak Ti...).

Sith are, again, not ex-members as the video-author implies, and again, the issue with them is the torturing and murdering and enslaving people, not simple philosophical differences. The Jedi are perfectly allowed to speak with outsiders and presumably critics of their Order; they just don’t want to let a bunch of genocidal despots have their way with the galaxy. The video also makes an unfair assumption that Jedi can't get information from outside sources; there is no evidence for this – in fact, we see in AOTC that Obi-Wan turns to an outside source when he can’t get the results he wants from the Temple droids, and even trusts that outside source over contradicting information coming from within the Temple’s information base (i.e., the existence of Kamino – he does not simply accept that Kamino doesn’t exist, he seeks further wisdom on the matter).

The video-author completely omits the fact that Palpatine is arrested not merely because of being "on the dark side", but because the man had orchestrated a war for his own sake and was attempting to turn the Republic into a dictatorship under his control. That is a very good reason to arrest someone.

Regarding the good versus evil section - first of all, the Jedi in the first six films never once refer to "the light side". Not once. I don’t recall if it came up in TCW (aside from the beings on Mortis, but they are not Jedi), either. Luke does refer to the "good side" in the OT but his teachers don't call it that. This point also goes against the visual metaphors that Lucas makes use of: “Color plays an extremely important part. The bad guys exist mostly in a black and white world; the good guys live in an organic world of browns and greens. Philosophically the bad guys live in an absolute world of black and white, where the good guys live in a more naturally nuanced world.” - George Lucas, the Making of ROTJ. The Jedi’s belief system is more nuanced than “this is good” and “this is bad”, and their rules and Code are not purely about morals.

The video goes back to the identity thing – but as I've already said, several Jedi are seen wearing the garments and ornamentation of their birth cultures. They also keep their birth names, and seem to value names highly given how they approach the clone troops under their command. Here’s a good post going into that even more.

The "Code" and swearing-in ceremonies he cites are not used in the films or TCW. I’m not sure where the swearing-in is sourced from, either, and the “Code” is a meditation mantra.

The things the Jedi say are not to stop complex thought – his example of Obi-Wan even at once point telling Anakin to “use the Force! Think!”, indicating that he would like for Anakin to think things through – he echoes this later in ROTS, trying to get Anakin to consider the Chancellor’s suspicious behavior. There’s also the fact that the way Yoda speaks is by George Lucas's own words, designed to get people thinking about what Yoda is saying.

Comparing meditation to hypnosis is...completely uncharitable.

And again with the emotions thing - at no point are any emotions labeled evil, nor do they avoid them - they are expected to be mindful (i.e. cognizant) of them, and to not let those emotions rule their actions. There is nothing to indicate that their teachings are the most uncharitable and extreme interpretation you can take from their words (as this video does) instead of a reasonable and healthy approach to self-control that is actually valuable psychologically.

His final claims repeat the earlier claim of “shunning” - again, there is no evidence for this behavior towards non-believers, especially as we see them having friends outside the Order. And at no point does anyone say that there is no happiness outside of the Order.

I hope I addressed all his points and sufficiently explained why they don’t match up with what we see in the source material. If you want further reading on how the Jedi actually function, with robust sources, I recommend checking out @gffa’s reference guide for the current continuity. There is also my “in defense of the jedi” tag, which collects my and others’ meta posts on the Jedi, their philosophies, and actions.

[sarita-daniele]

Hi, angel! Hope you're doing alright 💓 (hola ángel! También hablo español :) ) I was wondering if you could give some advices in starting out in an arts career?

Hola amigx, ¡perdón que nunca vi tu mensajito! I’m not on my Tumblr very often and definitely forget to check my messages. Luckily my favorite causita @luthienne told me you’d messaged me! 

I don’t know what arts discipline you’re in, so feel free to let me know if the advice I have doesn’t apply to you (and ignore it!). There are so many ways to build an arts career, but I’m happy to share some things I’ve learned through trial and error along the way. 

(Outrageously long post below break!)

Educate yourself in arts technique, but also study widely. 

Techniques are important in art, but only as important as the concepts behind them. When I was younger, I wowed people by drawing near-photographic portraits, but that technical talent and skill alone couldn’t make me a professional artist. Memorable artwork has not just a how, but a why. It isn’t just the object but the story behind the object, and the meaning of the object in the world. Art is about what interests you, what makes you think, what you most value and want to change in this world. So as you build an arts career, learn the techniques behind drawing, woodworking, casting, writing, music-making, whatever your discipline is, but take time, if you can, to also study history, sociology, anthropology, ecology, linguistics, politics, or whatever else you’re drawn to conceptually. Study as widely as you can. 

The studio art program I went through (a public university in the US) was very technique-forward; we signed up for classes according to technique, like printmaking or small metals, learned those techniques, completed technique-based assignments. Then I did a one-term exchange at arts university in the UK that was very concept-forward. We had no technical courses, just exhibition deadlines, and what mattered in critique was the concept. Both of these schools had their strengths and flaws, but what I learned was that, to be a practicing artist, I needed both technique and concepts that I genuinely cared about and could stand behind. If I could go back and change anything, I would probably take fewer studio courses (after graduating, I couldn’t afford access to a wood shop, metal shop, or expensive casting materials, and lost many of those skills) and more courses in sociology, Latin American studies, linguistics, ecology, anthropology, etc., because my artwork today centers on social justice, racial justice, Latinx stories and histories, educational access and justice, the politics of language, and community ethics. 

And please know that whenever I talk about seeking an education, I’m not talking solely about institutional spaces. College career tracks in the arts (BFA, MFA, etc., much less high-cost conservatory programs) are not accessible to everyone and aren’t the only way to establish an arts career. You can study technique and learn about the world using any educational space accessible to you: nonprofits that offer programming in your community, online resources, Continuing Education programs. And of course, self-education: read as much as you possibly can!

Know the value of your story. 

I come from a Cuban/Peruvian family and grew up in Albuquerque, New Mexico, USA. My father’s family fled political violence surrounding the Cuban Revolution and came to the U.S. when he was a teenager. My mother was born in Brooklyn to Peruvian parents on work visas and moved back to Lima in her childhood. I grew up with these two cultures present and deeply embedded in our household, in our language, our food, our sense of humor, our sense of history. And yet, some residual assimilation trauma still affected me. I drifted towards the most American things, the whitest things, English authors and Irish music, in part because I enjoyed them but also because those were the things I saw valued in society. I wanted to fit in, wanted to be unique but not different, wanted to prove that I could navigate all spaces. The reality of marginalized identities in America is that our country tells us our identities are only valuable when they can be seen as exotic, while still kept inferior to the dominant, white American narrative (note that this “us” is a general statement, not meant to make assumptions about how you identify or what country you live in). 

But as an artist, all I have is my story, and who I am. I wasn’t willing to look at it directly. For years, I avoided doing so. It turns out, though, that I couldn’t actually begin my career until I reckoned with myself and learned to value everything about myself. To fully acknowledge my story, my history, my cultural reality, my sense of language, and my privileges. So I encourage young artists to look always inward, to ask questions about themselves, their families, and what made them who they are. 

The reason for doing this is to understand the source from which you make art.  Sometimes, however, for marginalized artists, the world warps this introspection into a trap, pigeonholing us into making art only “about” our identities, because that work is capital-I-Important to white audiences who want to tokenize our traumas. This is the white lens, and if anything, I try to understand myself as deeply as I can so that I can make art consciously for my community, not for that assumed white audience. 

Know that your career doesn’t have to look like anyone else’s, or like anything you’ve envisioned up to this point. 

As a high schooler I imagined that a life in the arts meant me in a studio, drawing and making, selling my work, getting exhibitions near and far, and gaining recognition. It was a solitary vision, one with a long history in the arts, rooted in the idea of individual genius. My career ended up completely different. Today, my arts projects involve teaching, collaborating, collecting interviews and oral histories, and creating public installations, rarely in traditional galleries or museums. 

As you work towards an arts career, figure out what does and doesn’t work for you: the kind of art you like and don’t like, the kinds of spaces that feel comfortable and those that don’t. I always thought I wanted to be part of traditional galleries, so I got a job working in a high-end art gallery in Boston during my grad program. Once in that space, however— even though I found the space calming and the work beautiful— I realized that there was something that I deeply disliked about the commodified art world. I didn’t like that we were selling art for over $10,000, that our exhibitions were geared exclusively towards collectors and wealthy art-buyers. The work was often technically masterful, but didn’t move or connect with me on a deeper level, and I realized that was because it wasn’t creating any change in the world. I liked work that shifted the needle, that made the world more inclusive and equitable, that centered marginalized stories (that gallery represented 90% white artists). I liked artwork that people made together, which drew me to collaborative art. I liked artwork that was accessible to everyone, not just the wealthy, which drew me to public art. I liked art exhibited in non-institutional spaces, which led me to community spaces. Since I was in an MFA for Creative Writing, I liked interdisciplinary art that engaged performance, technology, text, that was participatory and not just a 2D or 3D object. Figuring out all of these things led me to apply to my first major arts job: as a teaching artist in a community nonprofit that made art for social change in collaboration with local youth, in a predominantly Latinx neighborhood. 

My career path didn’t look like anything I expected, but I love it. The bulk of my income comes from teaching creative writing and art classes for nonprofits, working as a core member of a public arts nonprofit, and freelance consulting for book manuscripts. I love being an educator and consider it part of my creative practice. I love that I’m constantly collaborating with and talking to other artists. I love working with books and public art every day. I publish poetry, fiction, and literary translations, and exhibit artwork I’ve created in the studio and through funded opportunities. 

Fellow artists tell me often that I’m lucky, that my “day jobs” are all within the arts. But there are downsides to the way I’ve chosen to structure my career. I’m constantly balancing many projects, and my income is unstable. It’s difficult to save and plan towards the future,. I get by, but financial instability isn’t an option for many artists with families and dependents, with debts, medical expenses, and just isn’t the preferred lifestyle for a lot of people. I know artists who worked office jobs for years to support their practice and gain financial stability. I know artists who had entire careers as lawyers or accountants before becoming artists full time. I know artists who teach in public schools or work as substitute teachers. I know artists who are business owners and artists who work in policy and politics. I know artists who work in framing stores and shipping warehouses while being represented by galleries. These are all arts careers, and I admire every one of them. So as you build your career, don’t feel like it has to look like anyone’s else’s, like there’s anything you “should” be doing. Focus on the kind of artwork you want to make and what kind of work-life balance is best for you, then structure your career around that as best you can. 

Any job you use to support yourself can connect to an arts career!  

I get asked often by young people looking for jobs what kinds of jobs will best propel them towards an arts career. I believe that any kind of job can connect to and support an arts career, and I know that some suggestions out there in the arts world (like “get an unpaid internship at an art gallery!” or “become a studio apprentice to a well-known artist!”) assume a certain amount of privilege. So I want to break down how different kinds of jobs can connect to your art career: 

1) Jobs that allow for the flexibility and mental capacity to create. My friends who work restaurant jobs while going to auditions fall into this category. Who work as bartenders in evening so that they can be in the studio by day. Who dog-walk or babysit or nanny because the timing and flexibility allows for arts opportunities. My friends who are Lyft drivers or work in deliveries. These are often jobs outside of a creative field, but they can be beneficial because they don’t drain your creative batteries, so to speak. You still have your creative brain fully charged, and some jobs (like dog-walking) even allow for good mental processing (you can think through creative problems). As long as the job doesn’t drain you to the point where you have no energy at all, these kinds of jobs can be great because they allow time and space for your creative work. 

2) Jobs that place you in arts spaces, arts adjacent spaces, or spaces where you can learn about material/technique. My sculptor friends who work in hardware stores, quarries, foundries, or in construction. My printmaker friend who interned with graphic designers. My writer friends who work in bookstores and libraries, artists who work in art supply stores. My friend who worked with her dad’s painting company and got to improve her precision as a painter, which she then took back to the canvas. My teen students who get paid to work on murals or get stipend payments for making art at the nonprofit I work for. My filmmaker friends who worked on film crews. Friends who worked as theater ushers, in ticket sales, or as janitorial staff at museums. All of these jobs kept these artists adjacent to their artwork, whether through access to tools, materials, supplies, or books, through networking and conversations with other artists, or through skillsets that could enhance their art. 

3) Jobs that deeply engage another interest of yours, that bring you joy or can influence your work in other ways. If there’s a job that has nothing to do with your art but that you would love, do it! First, because I believe that the things we’re passionate about get integrated into our art, and second, because any job that gives you peace of mind and joy creates a positive base from which you can create. My friend who worked at a stable because she got to be around horses. My friends who worked at gyms or coaching sports because it kept them active. My friend who worked in a bike repair shop because he was obsessed with biking. An artist I knew who worked at the children’s science museum because she loved being around kids and planetariums. An artist who worked at a mineral store because rocks made her happy. If you have the opportunity, work doing things you like without worrying about whether it directly feeds your arts career.

Because believe it or not, all jobs you work can intersect in some way with your art. You’re creative— you find those connections! A Nobel-Prize winning poet helped his dad on the potato farm and wrote his best-known poem about it. Successful novelists have written about their time working in hair salons and convenience stores. A great printmaker I know who worked in a flower shop began weaving botanical forms and plant knowledge into her designs. The key in an arts career is to see all your experiences as valuable, to find ways that they can influence your art, and to be constantly thinking about and observing the world around you. 

As for me, I worked as a tennis instructor, a tennis court site supervisor, an academic advisor, an art gallery intern, and a coffee shop barista before and during my work in the arts!

Let go of objective measures of what it means to be good. 

I was always an academic overachiever. Top of my class, merit scholarships, science fair awards, AP credit overload, the whole thing. On the one hand, I grew up in a house where education was valued and celebrated, and my parents emphasized the importance of doing my best in school— not getting good grades, but working hard, doing my personal best, and reading and learning all I could. I loved school. I loved academics. And I’m not saying this to brag, but to lay the groundwork for something I struggled with in the arts.

It is jarring to be an academic overachiever and enter an arts career. I thrived off of objective value systems: study, work hard, get an A. If I worked hard and learned what I was supposed to learn, I earned recognition, validation, and opportunity. 

And then I entered the arts. The arts are entirely subjective. We hear it over and over— great artists get rejected hundreds of times, certain art forms require cutthroat competition, etc. —but it’s hard to understand the subjectivity of the art world (and the entrenched discrimination and commercial interests that affect who gets opportunities and who doesn’t) until you’re trying to live as an artist. That you can work hard on something, give all of your time and physical effort and mental and emotional energy to it, only to have it rejected. That what you think is good isn’t what another person thinks is good. That there is a magical alchemy in the act of creation that can’t be taught, or learned, but must be felt, and that you can be working to find that light while actively others try to extinguish it. That you can be good and work hard, yet still not get chosen for the awards, the exhibitions, the publications. If you chased being “the best” your whole life, you’re now in a world where there is no “best”, where greatness is subjective, where the idea of competitive greatness is actually detrimental to artists supporting each other, and where work that sells or connects to white, cishetero traditions is still the most valued. 

After struggling with this for a long time, I came to the conclusion that the most important thing to me now is making the art I want to make, the art only I can make, whether or not it fits what arts industries are looking for or what’s going to win awards. If I make art I believe in from a healthy mental and emotional place, doors will open, even if they aren’t the doors I expected. So try to let go of any sense that worth comes from external validation. Learn to accept critical feedback when it is given kindly, thoughtfully, and constructively. Surround yourself with friends and artists who who can talk to about your work, who build up your work and help you think through it rather than cutting you down. Don’t believe anyone in the arts world who thinks they get to be the arbiters of what’s “good” and who has “what it takes”. People have probably said things like that to the artists you most admire, and if they’d listened, you wouldn’t have experienced art that changed your life. 

Work to gain skills in basic business, marketing, and finances for artists. 

Many artists (at least where I am in the U.S.) go through an entire arts education without receiving resources or training in the financial side of the arts world. Your arts career will likely involve some degree of self-promotion and marketing, creating project budgets and grant proposals, artist statements and bios, sorting out taxes, and other economic elements. I can’t speak to other countries, but for artists in the U.S., taxes can be extremely complex. If you’re awarded a stipend, grant, fellowship, or employed for gigs or one-time projects, you’ll likely be taxed as an independent contractor and have to deduct your own taxes. Through residencies and exhibitions, you may pull income in multiple states and countries, which can also affect taxation. If you’re an artist who doesn’t have access to resources about finance and taxation in your arts program or who doesn’t independently have expertise in those fields, I recommend finding ways to educate yourself early: online resources, low cost courses, or even just taking your financially-savvy friends out for a coffee!

ANYWAY SORRY FOR THE LONG POST I HOPE SOMETHING IN THIS DIATRIBE WAS HELPFUL I HOPE THERE WEREN’T TOO MANY TYPOS AND I hope you have the most wonderful, fulfilling arts career! <3 

[nerdgenie]

What do you mean Vermish had no development? Part 1 (s01e10-s02e09)

Vera = grand magus, Hamish = pack leader. I mean their resumes say it all

Vera and Hamish in the den's basement together. "How long is that going to protect us?" "Long enough for us to deal with them." "No killing." "No promises." "I SAID NO KILLING." growl. Old married couple

Dishevelled Vera looking like she got all the sex. Hamish looking like the smug sexy werewolf who gave her all the sex while tying his robe. (I know they were fighting The Order but come on. Foreshadowing 1-oh-1

Vera made the potion but Hamish was the one who handed it to Jack

Cue couple montage randall-lilith, jack-alyssa, hamish looking intently at vera then shaking his head.

The acolyte (Selena?? I forget her name) who's monitoring Hamish was about to approach him at the bar but it was Vera who got there. Was she pretending to date Hamish while he was memory wiped like Gabrielle with Jack? Coz symbolism -fake love replaced with the real one.

"If you are going to stand there, you might as well make yourself useful." These two have no concept of personal space.

Mom and dad casually leaning towards each other.

"I've seen Vera wearing thr same one." "Hmm, Vera." "I've burned all my good will with Alyssa." "We'll just have to go to the source." Ok, first: Jack seeing the amulet on Alyssa juxtaposed with Hamish seeing it on Vera (established main couple juxtaposed with Vermish). Second: out of the 4 werewolves, Hamish was the one close enough to "go to the source"

Vera righting herself when she saw Hamish come in

Vera wears a lot of high neck outfits, but she's in a low cut cleavage revealing werewolf turn on dress when Hamish needs to stare at the amulet positioned right at her cleavage. He needs to look at all the details of the amulet. Sure, show.

Let's not even talk about the blatant flirting

Lilith settling things with Nicole, Jack talking to Alyssa (two explicitly depicted couples) before magic heist, and the we have Hamish saying goodbye to the bar. Vera walks in. Come on, show, can you be more obvious?

Do we need to talk about the tall glass, flustered Hamish and his missing vest?

And do we really need to talk about how they made such a big deal of his vest being with the stolen Reliquery things? And Lilith making a big deal of waving his vest around? Then Hamish grabbing it from her in a what-the-Grand-Magus-took-off-and-I-forgot-to-put-back-on-is-none-of-your-business way. Also, was it really important that the vest was so obviously left behind when Zecchia stole all the stuff from them?

"Dude, are you hot for teacher?" "I admire good leadership." We all do, sweetie.

Pointing to Randall "you over there" pointing to Hamish "you with me"

Hamish literally catching Vera when she fell

Hamish taking care of Vera

Vera having a soft shy look and an almost smile when she came to and saw Hamish before catching herself

"You are so hot for teacher" "It's an end of the world thing, buddy. You wouldn't understand." I mean, we can just stop here, really.

"Reconnaissance only. Text me if you find anything. Be careful." "God, you sound like Vera..."

Randall to Hamish: "Get Foley to Vera"

"I think you are protecting your girlfriend" Resounding denial from Vermish.

Ok, controversial topic but I never thought Hamish was out of character. He was being logical and reasonable, and always did what he thought was right for his pack. He believed they needed the order to save Lilith. Then well, saving the world kinda is first priority type stuff no matter how important Lilith is. I mean dead world means dead everybody including Lilith if they somehow manage to get her back. Hamish didn't suddenly become Vera's lapdog. He was doing what he thought was right, like he always did.

"I could use a drink" is their code for "i want to fuck" and I love it.

That montage of Hamish leaving the party and Vera leaving the temple TO MEET EACH OTHER AND FUCK and simultaneously getting their asses kicked is 101% Vermish vibes i cant. I even forgot for a sec that this was also the Jack Alyssa sleeping together scene and that says a lot. Juxtaposition, again.

"Have you seen or heard from Hamish this morning?" "Why would you ask me that?"

"Everyone okay?" While only looking at Hamish.

"She doesn't want to, but her opinion may not matter for much longer." "Is Vera okay?"

These two try so hard to not care but look at them.

Hamish looking at the ball thingie.

Hamish, Randall and Jack were all present when Randall fingured out the blood parasite but it was only Hamish who went to Vera. Pretty convenient timing for him to be alone with her while Angus charges at Vera. Perfect opportunity for protective werewolf Hamish. That was hot, honestly.

I love Vera. She is a complicated woman, but everything she does stems from good (Hamish sees that). I would like to write an entire character study of her but that is not this post.

"I do not have time for Hamish Vera shipping theories." "I'm calling them Vermish."

Another conversation at the bar. In episode one, all they had between them was physical attraction. This time around, Hamish is talking to Vera about problems with his pack and Vera is telling Hamish she needs him. Yay for development. Also, they really have no concept of personal space.

To be continued.

[four-rabbit]

The Last Piece Left

This was supposed to be fluff the first time I had this idea. But then I decided that it could be fluffy with angst in the end. But then I got to actually write it and it became angst with even more angst in the end, so... hope you enjoy

I apologize in advance for any mistakes

Summary: For the first time since he left the Others, Virgil reunites the courage to talk to an old friend, but neither of them seem to know how to feel about each other. Or how to not make things worse. 

Characters: Remus Sanders, Virgil Sanders

Warnings: swearing, mentions to death and dead bodies, angst (does that count as a warning?), fight, sex mention

Word Count: 2287

“I told them my name” Remus looked away from the canvas in front of him, just to see who he once called a friend standing in the middle of his room, with an expression as abstract as the paint Creativity was trying to finish. So many feelings in such a small space it became impossible to understand. 

“Ok? Good for you, I don’t give a fuck” replied, focusing his gazes on anything except Virgil’s eyes, doing his best to keep his emotions simple. We hate each other. He abandoned us. That should be enough. Virgil stayed in silence for what seemed like a lifetime. “What do you want, emo?”

“Thomas painted his hair” he started.

“Yeah, I noticed. Purple doesn’t really go well with green. Unless we’re talking about a wound. Or a dead body. Nevermind, purple and green are awesome together”

“Yeah, I really liked the hair, actually. I was thinking… I mean, you and Deceit have green and yellow. The core sides also have colors. I’m kinda tired of the black” 

“Are you? I think it matches you, boring, quickly establishes that you’re the villain, having been washed in at least some months”

“I just want you to teach me how to sew,” Virgil replied, already starting to lose his temper. Calm down, he said to himself,he may be hard to deal with, but you are here to help, not make things worse. 

“Roman knows how to sew, probably way better than me. Do you think I should add like, blood red or more like a wine red?” He pointed to the canvas, answering his own question before Virgil could do so “Yeah, blood red of course, the classic”

“I kinda wanted it to be a surprise. Also, I don’t think Princey’s style really matches mine” Remus wishes he was as honest to himself as he was with other people. He knew deep down it would hurt more to do that. He knew that getting a bite of what used to be their friendship would just make him more hungry for something that didn’t even exist anymore. He knew it would probably hurt both of them even more. But someone wanted his help for the first time in… well. Virgil wanted his help. 

“Ok, get out of my room” said, finally turning to Anxiety, who tried to pretend those words didn’t send a wave of disappointment though his body. 

“Of course... This was a mistake” mumbled, starting to sink out.

“No dude! Fuck, I mean, like, intrusive thoughts and anxiety is never a good mix, let’s go to your room or a neutral room” quickly explained. 

“Oh” Virgil came back, seeming surprised “I can take your room just fine, dude, I’m used to it”

“It got way worse since the last time you were here, trust me, Gerard Gay” Virgil looked around. The view did look messier, if it was possible. The floor felt like skin, but with something off. He could hear whispers in the back of his consciousness, to which he could never identify a source. The smell was less like trash can and more like a trash can on fire where a corpse had been discarded some days ago. But he could take all that. He could take hours in that room, the same way Remus could take hours in his room. 

“I don’t see how”

“As much as I would love to see Thomas hyperventilating because his anxiety can’t stop thinking about how people are going to invade his house and slowely murder him if he doesn’t check all the locks at least five times, I’m pretty sure you don’t want that headache. And it will be a hell of a headache as soon as the room reaches your mind”

“Fine, My room, then?”

“Yeah, I’m in need of some new spiderwebs anyway” 

Virgil’s room didn’t change much since The Duke was there for the last time, except for some new Disney posters, probably from Roman and a drawing on the desk right beside anxiety’s bed. It was terribly colorful and childish, with all the three core sides and Virgil. Patton, then. Of course it was Patton. Anxiety immediately took the gift out of Creativity’s sight. 

“I’m not gonna eat it or anything, y’know?”

“It’s personal”

“Of fucking course it is” He could see how Patton seemed better compared to Janus. But they didn’t need a stupid - and shitty, let’s be honest - card to prove how much they cared for, everything was just so fucking stupid and boring with the core sides, why would Virgil fucking chose to be with them?! What was wrong with him?! What did Remus do wrong?! “It’s really shitty, but I guess daddy has always been bad at everything he did”

“Could you keep it down? For at least thirty fucking minutes?” Virgil snapped, clenching his fists and looking at Remus with pure danger in his eyes. 

“Do you have a… “He looked around, wishing he could just stop fucking talking for at least one damn second “A sketch. For how you want your hoodie to be? 

“I do, actually” Virgil kept his eyes away from his old friend, the tension in the room so heavy it could be cut, grabbing one of the drawings on the same table Patton’s gift was and giving it to the duke. It was… a concept. Remus conjured a pen, turning the paper and using it’s other side to make a more clear image, giving it back to anxiety.

“How about this?” Virgil tried not to smile, but his eyes betrayed him by shining. It was perfect.

"It 's cool”

“Great” he then started to reunite all the materials. One of Virgil’s older hoodies, purple fabric, white and black threads and…

“Why a spinning wheel?” 

"It 's cooler” replied, shrugging. 

“If I touch the needle will I also sleep for one hundred years?”

“Who knows? Now sit your ass down, emo, this will take time”

“Ok, what do I do first?” said, sitting on his bed and waiting for instruction. Remus flinched until the realization struck him. 

“Wait, you actually want me to teach you? Buddy, I’m the worst teacher ever and you know that” And also I’m a selfish motherfucker who knows very well that if you never learn it every time you need to fix it you will have to ask for my help. 

“It can’t be that hard”

“If you actually want to do something decent, it will take at least some days. Do you want The Duke in your room for days? I wouldn’t mind it, we could even have some fun” He smiled maliciously. He was right. Virgil wouldn’t want any of the core sides to know he still talked to Remus. Especially not Roman. 

“Fine. How long will it take for you to do it?”

“One hour” He could do it in a couple seconds, actually, but sshhh. 

“Ok” Virgil looked down, seeming almost… embarrassed. Creativity grabbed all the materials, conjured a bench, sat down and started to work. He tried to stay in silence, but it was almost painful to do so

“How are the core sides doing? Anything interesting, if that’s possible?”

“Are you trying to do small talk?” Virgil almost smiled. The only one of the Others good with that was Deceit and they all knew that. 

“I’m trying to keep it down like you said to protect your now light side ears or whatever” Virgil chucked, rolling his eyes. 

“What was that painting about?”

“Oh… I was trying to do an abstract representation of the emotions decay and rottenness bring”

“Sounds like you. How was it going?”

“Like shit. Not literally, even though that’s a good idea, did you know that when we die our whole body, like, relax, including our stomach muscles and all? And yeah, we shit ourselves, so go to the bathroom before you die, I guess” Virgil flinched with that unwanted information.

“I feel like you told me that before”

“I probably did, it’s pretty basic. I don’t know what the fuck is happening, I haven’t being able to paint anything good”

“I thought it was pretty nice” For Remus’ standards. 

“Sure you did. But really, how are those dorks? Did someone already explained to Daddy what sex it or nobody had the courage yet?”

“That’s what you’re concerned about?”

“Of course!” 

“Nobody did, obviously, but I’m considering, I like Patton, but if he refers to adulthood as adultery one more time I’ll lose it” Remus snorted. 

“He does what?”

“Long story, dude”

“Holy fuck” He laughed “He’s definitely doing that on purpose”

“What would he win by doing that?” A couple of answers came to Remus’ mind but he was sure VIrgil would hate all of them. Still, he had to choose one, that how things work “Maybe he likes fucking with you guys”

“Not everybody finds it funny to manipulate the people around them like Deceit” Oh, here we go again. 

“Patton and Janus are not that different”

“Name one thing they have in common” fortunately for Remus, the first answer that came to his mind was not that bad. 

“Well, if you’re right, they both don’t know where babies come from” Virgil seemed divided between keeping arguing and smiling. He went with the second option. You can do it, Virge. You can not screw everything. 

“I guess so. But Patton is definitely better with hugs” 

“Which one of the light sides would you fuck if you had to chose?”

“Where did that come from?!” Remus shrugged.

“Just curious”. 

“I won’t fucking answer that!” exclaimed, his face starting to get red.

“For me it would be Logan. Or maybe you. Do you count as a Light side already?” Anyway, Logan must be amazing. It’s almost like fucking a teacher and I always wanted to know how it feels like” Virgil was about to order him to shut up, but he knew Remus enough to know it would only make things worse, so he went with a more effective technique.  

“How is Deceit doing?” Remus raised his eyebrows, the question surprising enough to stop his line of thought. 

“Fine? Why do you care?”

“I mean… are you guys good?” 

“As always”

“Haven’t he been… hurting you or anything like that?”

“Janus never hurted me, dude, what the fuck?”

“Except that he did. Except that he does it everyday. You just don’t want to admit it” Remus looked into his eyes, frowning.

“Emo, what is this all about?” 

“What do you mean?” Based on how he focused his gaze on the floor, Remus raised his eyebrows even more. 

“This is not just about the fucking hoodie, is it?” Virgil stayed in a seeming never ending silence.

“They accepted me, Remus.You guys said it was impossible for the core sides to accept us, but here I am. They could accept you too” Oh, so that’s what this is about. Remus went to one of his rare silences, which were always scarier than his loudest noises. 

“We already talked about this, emo”

“But that was before! When we thought they all hated us! But they don’t! Logan is welcoming and Roman is trying and Patton… Patton is willing to receive us with his arms open”

“No, he’s fucking not. Patton hates me so fucking much I’m pretty sure he would get rid of me the second he had the fucking chance and would still convince himself it was the right thing to do” He got up without realizing, putting all his efforts into not crying like a pathetic child. 

“I think you’re mistaken him for Deceit” Virgil also got on his feet.

“Janus, his name is fucking Janus, why can’t you just call him for his fucking name?! He yelled. 

“He’s a liar, Remus! He doesn’t care about you or any of us! He just wants to… Follow his plans or whatever”

“Oh, do you think Patton cares about you?!”

“Actually yes, I know he fucking does”

“Well, yeah, maybe he does, maybe he doesn’t, but if I get there? Not only will he get scared and kick me out, he will also be angry at you for bringing the freak here into his perfect little world of sunshine and rainbows, so thank you so much, but Janus at least was there for me when I needed it, unlike those dicks or you!” Don’t cry, don’t cry, don’t cry. 

“I should have known this was a mistake” Virgil said, letting his shoulders drop with the height of defeat. 

“Yeah it was. Here is your fucking hoodie” He finished it with a snap of his fingers at threw it at Virgil, sinking out right after. “Have fun with your new friends, Virgil” 

Slowly, anxiety grabbed his new costume. It was amazing, Comfortable, spooky, creative. And it was so… detailed and clearly done carefully, It was… He started crying.Ugly crying, with the tears scratching his throat to came with violent sobs, their warm burning as they fell down his face, wetting his own clothes and the new one in his hands, the pain in his chest seeming like a monster was tearing apart his whole soul, trying to destroy his heart, it hurted more than anything that he ever felt. 

He knew, deep down, it was impossible to have a real famILY like that. But he also knew he was a hypocrite and it was easier to pretend things were simpler. It was easier to pretend he didn’t need Remus. Or Janus, by that extent. It was easier to pretend they weren’t family. But not easy enough for him to not hold on to all there was left from what they once called a friendship.

 He held the hoodie tighter.

[thequiver]

i need that bruce and arkham essay plz

I’ll answer this tomorrow I told you almost two and a half hours ago and yet here I am. At almost 4 am so bear with me folks.

WARNING: THIS POST CONTAINS DISCUSSION OF TROUBLING ACTIONS, SERIOUS MENTAL HEALTH ISSUES, AND VIOLENCE

So, what really starts me in on discussions around Bruce and Arkham, and something I feel like a lot of people either don’t know, conveniently ignore, or forget is that Bruce was in his youth, an Arkham patient. Specifically Alfred sent Bruce to an Arkham boy’s’ rehabilitation facility upstate. Against his will. Because he was obsessed with the idea of shooting and killing his parent’s murderer and had almost attempted suicide. This rehabilitation facility is where Bruce meets and befriends Harvey Dent. But this is just the tip of the iceberg.

Following his stint at the rehabilitation facility- Bruce exhibits even more troubling behavior, which suggests that his time at an Arkham facility did not teach him healthy coping mechanisms or do much to help him learn to process his emotions. While still a young man (18 or under) Bruce:

Responded to a question a teacher asked in class by burning it into their front yard

Hired a homeless man to pretend to be Alfred to sign paperwork that would authorize the erasure of his memories via electroshock therapy (he ultimately did not go through with the procedure)

Used the Irish mob to track the location of Joe Chill and then interrogated him

Now I understand that despite having a certification in mental health first aid, and having PTSD, that I am by no means an expert in human psychology. But I feel comfortable saying that the Arkham system failed Bruce Wayne and that Bruce Wayne does not have healthy coping mechanisms.

Bruce ultimately did not commit suicide because he believed it would not be what his parents wanted for him, and vowed instead to dedicate his life to stopping crime - from that moment until he finds Joe Chill and learns that the motivation behind his parents death was simply that Chill needed a quick buck and that his parents death, to quote the fandom wiki had “no deeper meaning,” Bruce’s quest for vengeance and stopping crime is based around a conspiracy surrounding his parent’s murder that he has concocted in his own mind. One might think that after learning that the motivation behind the murder of his parents was money, and Bruce Wayne being a billionaire that he might have stopped to consider that perhaps crime is motivated by poverty, but alas, world’s greatest detective my ass.

Bruce, now fueled by the loss of his parents and the anger that his parents death has been reduced to the need for a quick buck begins his multi- year training montage. During this montage, while he’s ignoring Alfred’s attempts to contact him, Bruce let’s an assassin into the home of one of the men training him, and the man’s dying breath warns him that death would come of fostering close personal relationships, and Bruce sure didn’t listen to therapy, but he does take that message to heart. As a way to formally end his training, Bruce then climbed to the top of Wayne Tower and jumped off.

These are not the decisions of a man who is mentally healthy.

From pretty much the get go we see Bruce go from a child who was powerless in a situation where his parents were taken from him, into a damaged young man who was failed by a mental health facility and then spent seven years training to beat the absolute shit out of criminals after finding out that his parents were killed for a quick buck. The Joker at one point has to stop Bruce from stabbing the Riddler in the face. And of course we’ve all seen Bruce almost beating criminals to death and beating the shit out of his kids, and forming plans on how to take down other superheroes. These are not healthy behaviors.

But how does Arkham tie into this beyond Bruce being a former patient? What I’ve tried to do is establish a few things.

Bruce Wayne was failed by the Arkham system (a system that, at the time of her death, his mother was desperately trying to reform)

Bruce Wayne has control issues (both in that he has issues regulating his emotional responses and those responses lean towards extreme and violent behavior, and that he wants to be in control and he wants to be right all the time)

Bruce has not made an attempt to seek professional help since Alfred sent him to the rehabilitation facility (or as I said in another post of mine “Bruce refuses to get therapy and make that everyone else’s problem.”)

Bruce has self destructive tendencies

Arkham is a system that Bruce cannot control. He couldn’t control it when he was a patient, and he wouldn’t be able to control it as a major donor seeking to fix the broken system that failed him and carry on his mother’s legacy. What medical professionals in a mental health facility do are outside of his control.

Furthermore while punching a criminal to the point of near death or disfigurement, or dropping an unconscious goon at the police station will typically stop a run of the mill mugger, thief, etc, from committing more crimes at least for a while (assuming of course that they can even make an arrest when the chain of custody on any evidence has been broken), more high profile criminals the ones we see as recurring members of the Rogues Gallery who seem to be motivated by something other than poverty are typically found unsuited for trial and would thus be sent to a rehabilitation facility, like Arkham.

These high profile villains offer more of a fight than a mugger who hasn’t had a proper meal in the last two days, and as such they can usually injure Bruce while he’s in the Batsuit. This feeds into two of Bruce’s things- his self destructive behavior, and his history of violent behavior. But- is Arkham worked, if the rogues really were to be rehabilitated the opportunity for the catharsis brought on by the violence both towards and from them would be gone, Bruce would not be in control of their recovery, and as we’ve seen, Arkham has failed Bruce, and imo it’s unclear if he thinks Arkham can actually help people.

Bruce doesnt fix Arkham because that would mean admitting that it failed him, that it needs fixing because he is not mentally well, he does not want to admit that he is not in control of himself or that he is in some way “damaged.” Fixing Arkham would also stop the revolving door of break ins/outs that provide him with the catharsis brought on by violence- if it ceases to be real life monopoly jail the frequency of these encounters would dwindle and as many of us know, bad coping mechanisms often become a habit and Bruce would become twitchier.

Furthermore, handling all of the Arkham break outs gives Bruce a sense of accomplishment on his self assigned mission to squash crime- he’s handling all of these big name villains, on a rotating basis means that he is busy with at least one of the rogues pretty much all the time. This sense of accomplishment is important, after all, it’s not like he’s doing anything to stop crime at the source, and without a sense of accomplishment how could he ever hope to moralize at other heroes and hold them to an impossible standard that he himself is not even meeting?

Bruce’s time in the Arkham system is something that is often overlooked but does quite a bit in shaping Bruce’s perspective and decision making. And they’re not good decisions or good perspectives.

[madasthesea]

I’m sorry for being so mean. I had a really bad day and didn’t mean to say such awful things. But I am frustrated my fics always get ignored, especially by the big names in the fandom such as yourself that claim to support everyone. I’ve written so many fics in this fandom and have been doing so for over a year, yet I only have 30 subscribers. I get really frustrated and feel like I’m a bad writer because everyone ignores me and my fics. I shouldn’t have taken it out on you. I’m sorry.

(2/2) For a fan community that claims they are inclusive, everyone sure doesn’t act that way. Everyone already has their friends and people like me who don’t have many friends get ignored. The big names in the fandom don’t support or read the fics by the new people. It’s not just me. I’ve never received a single kudo or comment from you or anyone else that’s popular like you. I don’t know what I’m doing wrong but people don’t read my fics.

Ok, I’m answering this in the middle of the night in the hopes that not a lot of people will see it so it won’t become A Thing and then as soon as this fic exchange is over I am turning my anons off forever. Anon, I guess I have to give you credit for coming to apologize, but I have to say, where before I was perfectly capable of laughing off your extremely rude message, I have to say, now I’m annoyed. Because there is not a single instance or bad day or frustration that makes what you said acceptable. You came into my inbox and threw a temper tantrum because you knew my name and I happen to have anons on unlike most of the “fandom big names.” You told me I had the worst fics in the fandom, told me I publish outlines instead of stories and accused me of writing incestual pedophilia because you had a bad day? I’m going to give you the benefit of the doubt and assume you’re young because that is the only possible excuse I could give you. As I said in my original response, if I were already an anxious writer, you could have caused me to delete all of my fics and put me off of writing forever. Someone commented on your original message and said that they don’t post their writing because of messages like that one. You’re right you shouldn’t have taken it out on me, and you wouldn’t have if your name had been associated with it. But here we are, and I’m going to try to make it so this never happens again, at least with the two of us. 

Now, onward to your frustrations. I am sorry that you aren’t getting the attention you want, but one) yelling at me on anon isn’t going to fix that. Two) not to be like callous and insensitive, but that happens to almost every writer I know. I’ve been writing fanfiction for 12 years. This is the seventh fandom I’ve written for and no one ever read my fics before this. My first year on AO3 I published six stories and had 500 views total. I get the frustration, but sometimes you just have to get the perfect combination of exposure, plot, and interest. Three) Do you have any idea how many stories get published in the Peter Parker & Tony Stark tag a day? I’m sorry, I can’t read all of them. I don’t want to read all of them, in fact I have 14 different tags blacklisted. Just because I am a “big name” does not mean I owe you a comment or a kudos. If I like your story, I will tell you. Chances are, I haven’t even seen one of your stories, because I’m an adult with a job and hobbies and writing of my own to do. Most of the “big names” are the exact same except a lot of them also have school. If you want someone to read your stories, ask them. Say “hey, I respect you and your opinion, could you look at this for me?” They will probably say yes unless they have a good reason not to. Don’t just sit there and wait for it to happen and get mad when it doesn’t. Also, this is the third time someone has yelled at me for not reading or commenting on their fics and it makes me less inclined to leave kudos in general in case someone comes and gets mad that I read their fic but didn’t comment. So uh… don’t do this again. 

As for the community, do you want to know how to make friends? Send asks (nice ones) not on anon. We can’t interact with you if you don’t know who you are. Reblog our fics. Comment on our posts. You can’t make friends if no one knows you exist. And the only way to show you exist is show yourself in our notes, in our inboxes. Sitting in your corner of tumblr and being bitter isn’t going to help anyone. This fandom is welcoming and it is kind and it is supportive. You saw how many people came to my defense tonight. If you talk to those people, they’ll talk back, but they can’t reach out to every single Irondad blog, it just isn’t feasible. 

And finally, how to get your fics read more. Like I said, part of it is just… luck. I got in at the very beginning, as did losingmymindtonight, parkrstark, several others, and had already established myself before IW came out and the fandom got bigger. Lucky break on my part, but I’m also a good writer because I’m 25 and I have a Master’s in a writing heavy field and I’ve been writing my entire life. Sometimes it just takes practice. But there is stuff that all good fics have in common, so here we go:

1) Good grammar, good spelling, good punctuation.

I don’t know who you are so I have no idea what your writing is like, but this is stuff I had to tell college students as a teacher, so I’m just going to go over it. 

Are there line breaks between every paragraph? No? There need to be. It’s hard to read when all of the words are bunched together, meaning automatic exits will happen, regardless of content.

Do you start a new paragraph every single time a new person speaks? You should.

“When someone is speaking,” I asked, “do you put a comma before the speech tag?” Commas, not periods. Not periods then commas. Punctuation goes inside the quotation marks. 

Are you writing in first or second person (I or you)? Don’t.

Pay attention to your tenses. It is very confusing reading a story that switches tenses every sentence. 

Are you capitalizing the beginning of every sentence and proper noun? You have to. Reading all lowercase takes energy and concentration and readers don’t like to put more effort in than they’re used to. Also it’s just pointless.  

Get a beta reader. Get grammarly (but the free version, don’t pay) or another editing service. Google anything you have a question about. EDIT YOUR WRITING. 

2) New ideas

Every fandom has tropes they love, but not every fic can be a trope fic. Every fic I write is, if not completely new, a spin on a popular trope.

Yes, there are some popular field trip fics, but most of them get lost in the weeds because they are all the same. And most of the people I talk to don’t even like them. (This counts for May dies fics, sensory overload… If you’re going to write it, you have to make it different and you have to make it good.)

Look to other movies or books for ideas, check out irondad-fic-ideas, something. Write something new, something only you can write, and at least some people will notice.

3) Good characterization

Now apparently everything I write is OOC, so maybe I’m not the best person to be giving advice on this :/ (I’m still annoyed. I’m getting over it)

BUT–the best way to write a well-known character is to know the source material. Listen to the way they talk, watch how they move. Ignore fanon. It’s hard, but try. Peter isn’t actually a perpetual ray of sunshine, chatter box 12 year old like we often write him, Tony isn’t 100% sarcasm and incapable of recognizing his own feelings. 

If you can hear the character say it in their actual voice, it’s probably a good line. 

4) Misc.

Fandom rule of thumb: cute fluff and hardcore whump win out over deep character studies on convoluted plot lines. If you’re just looking for hits or maybe a fic to establish yourself, that’s a good way to do it. 

If you’re posting a multi-chapter fic, don’t post it all at once. People will comment on each chapter as you post and you’ll get more hits. 

Respond to comments, especially at the early stages. It makes your readers more invested, it builds friendships, and it makes your stats look better. 

There’s a blog that supports little known writers in this fandom! Rec your fics there!

Make sure to never, ever put “I suck at summaries” or “fic is better than summary” it is an instant turnoff. If you can’t write the thing that makes me want to read the fic well, why would I think I want to read the fic?

Tagging on AO3 is vital. Tag the right relationships, tag the right emotions (angst, fluff, hurt/comfort). I often sort just by these. Always put in the category, (M/M, F/M, etc.) and the rating. There is no reason not to, but not doing so makes people less likely to read. Always tag triggers.

Never steal fics or ideas. If a story inspires you, you can ask the author if you can write something similar and then link in your story back to theirs. Nothing will make you less popular in a fandom than stealing work.

Lastly, I know authors constantly talk about how important comments and kudos are, and they are so important to bolstering spirits, I get that, but if you aren’t writing for yourself first, you will always be disappointed. You should enjoy your fic as much when you read it in your word doc as when you read it online with comments and kudos. And maybe you write really niche stuff that doesn’t appeal to a lot of people, but churning out carbon copies of the Fandom Tropes and hoping for hits is not going to satisfy you and you will keep being frustrated.

Let’s not do this again, shall we? Next time you have a question, ask me nicely.

[voltrontranscript]

VLD S8E13: The End is the Beginning

Season 8 Episode 13: The End is the Beginning

Transcript by @dragonofyang

Summary: As the Paladins and Honerva battle, they find themselves at the source of all realities in the final showdown for the very existence of the universe.

[Google Doc]

Keith: We have to take the fight as far away from here as--

Allura: Now let’s finish this!

Lance: Incoming!

Shiro: We can’t let this happen. She can’t get away. 

[Transition to the Atlas-Voltron mech floating in a black abyss lit by glowing white tendrils.]

Keith: Is everyone okay?

Lance: Yep.

Pidge: Here.

Allura: Yes.

Shiro: Does anyone have eyes on Honerva?

Lance: What is this place?

Allura: I--I’m not sure.

Honerva: This is the beginning. And the end.

Allura: Can--can you all feel that? These strands are…

Lance: The only remaining realities left in existence.

Pidge: This place is the source of time, of space, of…

Hunk: Everything.

Honerva: I will end this once and for all!

Allura: She’s destroying… all realities!

Keith: She’s destroyed everything. There’s only one reality left.

Allura: No, please. If Honerva destroys this final strand, all of existence will end with it!

[Scene change to a white abyss not unlike the rift, but it’s the source of all realities.]

Honerva: Where are we?

Allura: The connected consciousness of all existence.

Honerva: You think you’re safe here? Soon all will cease to exist.

Hunk: You have to stop this. All these worlds, all these realities, they deserve to live.

Honerva: Those realities are flawed and weak, living out the same pathetic cycle of war and pain.

Allura: There is beauty in their flaws. I lost my father, my mother, my planet to this war, but I’ve gained a new family and a purpose stronger than any I could have imagined.

Pidge: Humans began very flawed. There were wars, hate. But with each mistake, they learned and grew.

Shiro: And now we reach out to other worlds to pass on those same lessons and spread them across the entire universe. Like your people once did.

Hunk: And with every new world touched, the message grows.

Keith: Every world, every reality. We wouldn’t exist without the others.

Lance: Our differences are what make us stronger.

Honerva: You think your words mean anything to me? I’ve lived multiple lifetimes, and all of them filled with pain and loss. If I cannot experience the simple joys of life, why should anyone else?

Allura: There was a time when you loved more than just your family, a time when your fascination with how vast the universe is gave way to your desire to help and uplift others.

Lotor: The beginning of Altean alchemy.

Honerva: You tried to help him.

Lotor: ...the tales you grew up with…

Honerva: He was happy. He deserved better. Better than I could give.

Allura: Lotor may have been misguided, but ultimately he wanted to preserve life. Honor your son. Help me change this.

Honerva: I’m sorry, but the damage is done. There’s nothing left to save.

Allura: I can change the quintessence within your vessel. Your son helped me learn how to transform it from a destructive force into a life-giving force. But I cannot do it alone.

Honerva: But, that would require…

Allura: I know the risks. I’m afraid this is where we part ways.

Hunk: Wait, what?

Keith: Allura.

Lance: What?

Pidge: No.

Allura: This is our only chance to undo what has been done, to save all of existence. I have to take it. It is my purpose. Your paths go on. Mine ends here.

Hunk: But there is no Voltron without you.

Allura: Voltron isn’t needed anymore. The rest of the work is up to the people. And they’ll have you to guide them, Hunk. Goodbye, Pidge.

Pidge: I’m gonna miss you, Allura.

Allura: Remain curious and fearless.

Shiro: Most of them won’t know the sacrifice you made so they could live.

Allura: And they’ll never need to. Your selflessness taught me that. Thank you.

Shiro: You never have to thank me for anything.

Allura: Keith… I cannot thank you enough for all you’ve given me.

Keith: Allura, when you accepted me, it helped me to accept myself. Thank you.

Allura: There is greatness in your heart and in your actions.

Lance: No. Allura, there--there has to be another way.

Allura: There is no other way. This is all we have.

Lance: But you’re too important to the cause. You’re--you’re too important to me.

Allura: I’ll always be with you, Lance. And I’ll always love you.

[Transition to the two mechs once more as all realities explode from between the two of them and the paladins wake up.]

Keith: Is this…? Are we…?

Pidge: Yeah. It’s our reality.

Lance: She did it. She saved us all.

Hunk: I don’t remember that planet being there before.

Lance: It’s Altea.

[Timeskip transition, with the text reading “One Year Later…” as we open on the flame of Feyiv.]

Keith: With the return of Planet Daibazaal, the Galra Empire is at a crossroads. For too long, the people of this extraordinary civilization have been manipulated by a dictatorship that placed a misguided sense of self-preservation above all else. It was a tragic, unfortunate series of events that led us down this dark, never-ending path of power and greed. But now we, the citizens of the Galra Empire, have an opportunity to make right all of the injustices set into motion by our forefathers. Because of the sacrifice made by Princess Allura, we have been given a second chance to come together in rebuilding the Galra Empire by joining the Galactic Coalition and ushering in a new era of peace across the universe.

[Scene change to the IGF-Atlas flying through deep space.]

Male Chancellor: Your armies have attacked us at every turn.

Female Chancellor: If you had just agreed to our terms, the attacks would not be necessary.

Male Chancellor: You are occupying a peaceful settlement!

Female Chancellor: Our people were starving!

Hunk: Chancellors. Please, sit. Dinner is served. The filet of bandrillo, spiced with the seasoning from the plains of planet Mabo, alongside pilaf of long-grain forlongian brill from the vast fields of Antidoll. And it’s accompanied by a cider made from the petals of the Altean juniberry flower. Bon appetit.

Female Chancellor: Delicious.

Hunk: And it wouldn’t be possible without the cooperation of all three planets of the Xritoo system. Much like my cooking crew, comprised of aliens from all across the cosmos working together to bring you this delicious meal. Princess Allura, the very person we celebrate on this day, once said, “We are always stronger together.” If the people of your planets work together, so much more can be achieved.

Shiro: Honor her by following in her footsteps and walk in the path towards peace.

[Scene change to Pidge and Matt in a robotics lab as they build an android.]

Pidge: All done.

Matt: So, have you been thinking of any names?

Pidge: Yeah, I was thinking of Chip.

Matt: You and your puns.

Colleen: Katie, your father’s got the teludav all warmed up for you. Better get going. You don’t want to be late.

Matt: Don’t worry, Pidge, I’ll have Chip all ready to go by the time you get back.

Pidge: Just don’t initialize until I return. I want to witness Chip’s first moments of consciousness.

Sam: Have a good time, honey.

Pidge: I will, Dad.

[Scene change to New Altea, where a new Castle of Lions is being constructed.]

Merla: Construction is on course.

Coran: Ah, most excellent! How are the preparations for tonight’s feast coming? It has to be perfect. It will be the first Celebration of Allura. The first of many to come.

Merla: As soon as we can get access to the location, we can begin setup. But it’s currently occupied by your friend, sir.

Lance: And had Princess Allura not seen that there was still good left in Honerva, we most likely would not be sitting here today. She grew to understand that there is good in everyone.

Balmera Girl: Even Emperor Zarkon?

Lance: Yes, even Emperor Zarkon.

Balmera Girl: Do you miss her?

Lance: I do. Very much. But I’m reminded of her everywhere I look. So in that way, she’s still very much with me. With all of us, actually.

Altean Child: Now that you no longer pilot the Red Lion, what do you do?

Lance: Well, I help run a small farm back on my home planet with my family. It’s a simple life, just the way I like it.

Altean Instructor: Alright, everybody, I think Paladin Lance has somewhere to be in a few doboshes, and you all have class to get back to.

Kids: Aw!

[Scene change to the paladins and Coran all sitting at a table loaded with food in front of Allura’s memorial statue.]

Pidge: I mean, seriously, though, Earth has come a long way. It’s a hub for all alien activity now that my dad’s stabilized his teludav technology.

Shiro: That’ll make travel on the Atlas much easier. We’ll be able to reach so many more sectors with the improved mobility. Not to mention the supplies we’ll save with the shorter journey.

Hunk: Yeah, yeah! We’ll have so much more room for the cooking ingredients. People are just so much easier to reason with when they’re full. Man, this diplomacy thing isn’t nearly as easy as Allura made it look.

Keith: Right? But then, she did make everything look easy.

Shiro: Speaking of which, how are things going on Daibazaal?

Keith: We’re calling for an election to select the Galran representative for the Galactic Coalition. So that’s a step in the right direction.

Lance: Let me guess, they asked you to be their leader and you said no?

Keith: Yeah, pretty much.

Lance: Classic Keith.

Coran: Allura would be proud of your decision, Keith. I think she knew that you would always be the key to the Galra’s future. Just around this table, I see so many lives touched by her actions. For some of us she was a diplomat, a teacher, a leader, and a friend. But to those of us around this table, she will always be family. To Allura!

Paladins: To Allura!

[Scene change to Lance’s quarters in the middle of the night.]

Lance: Huh?

[Scene change to the epilogues, which are without dialogue. The text narration follows in order.]

The Holt family established the next generation of Legendary Defenders.

Hunk created a culinary empire, bringing the universe together, one meal at a time.

Lance continued to spread Allura’s message while surrounding himself with the things he loved.

Kolivan and Krolia became the Galra representatives to the Galactic Coalition.

Keith helped transition the Blade of Marmora to a humanitarian relief organization.

Shiro found his happiness and finally left the battle behind.

End.

[aion-rsa]

Ghosts Series 2: ‘They’re stuck in an existence they didn’t ask for… like all of us’

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The Ghosts creators have worked together for over a decade. To-date, the six-person team (Mat Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard and Ben Willbond) have written and performed in long-running children’s sketch comedy Horrible Histories, three series of fantasy sitcom Yonderland, feature film Bill, and two series of the supernatural BBC comedy Ghosts, with a third on the way. 

Channelling Mrs Merton asking Debbie McGee what first attracted her to the millionaire Paul Daniels, I ask Baynton and Howick via Zoom what inspired the group to write Ghosts, a sitcom about a group of individuals who frequently drive each other nuts, trapped together for what may well be eternity? 

Both laugh. “I’m sure we do drive each other nuts in many ways,” says Howick, “but the truth is, like the ghosts, what we always come back to in these episodes is that they love each other and don’t know what they would do without each other. I think that can be said for the group?” He looks to Baynton for confirmation and gets a happy nod. 

Considering the well-documented fallings-out and imploding egos of other comedy gangs – the Pythons not least among them – this level of harmony over such a long period feels remarkable. What’s their secret? “I think we keep each other honest,” says Baynton. “There are certainly heated debates.”

Heated’s too strong a word, says Howick. “We only really fight for our opinion, we never fight each other.” On the rare occasion that there isn’t unanimity about a particular topic, there might be a locking of horns and a democratic vote, but real arguments don’t happen. “There’s no animosity or jealousy with each other’s independent careers,” he explains. “We are our most important project. We have no desire to work each other up. We’re all genuinely fond of each other.”

That much is clear watching them interact. The online BBC press launch for series two was punctuated by the group making each other laugh. Silly voices. Running jokes. At one point, to the absolutely delight of his colleagues, Simon Farnaby’s crotch moved unavoidably front and centre as he stood up in front of his webcam to adjust a window blind. The rapport is real. 

Indeed, during UK lockdown, say Baynton and Howick, the group’s regular Zoom calls drafting Ghosts series three were a godsend. Aside from the boon of having regular work when so much of their industry was in uncertainty, being able to see friends for three hours on a Wednesday evening kept them sane. 

“It’s been a tonic in an otherwise relatively difficult and quite miserable time to have been able to jump on Zoom and make each other laugh with ideas for these characters that we love,” says Baynton. Entertainingly, when the group splits off into writing pairs, each does impressions of the absent characters while drafting dialogue. “It’s funny,” remarks Howick. ‘When we come together as a six, if we’re trying to pitch a positive idea, it’s usually done in a [segues into the regional accent of his upbeat character] Pat voice. Or if it’s a melodramatic idea or if it’s over-the-top, it might be a [Baynton’s Romantic poet character] Thomas voice.” 

Via video chat, it took a little longer for the group’s writing wheels to start turning. Ordinarily a new series would start with two weeks of the gang together in the same room. Stretching that to months of three-hour Zoom calls, fitted in amongst home schooling for the parents among them, was an adjustment. “The energy that you would bring to a room at 10 o’clock in the morning in an office wasn’t there,” says Howick. “You’d have to try and generate this feeling even though everyone was exhausted.”

Howick found himself seeking out frivolity to reach the right frame of mind. He played videogames. “If I sat and thought too hard about what was going on outside my door, it would make me really sad, and so in order to keep a vital part of me going, in order to meet with Mat and the others every Wednesday and keep that bright demeanour, it was good to do that.” The writing momentum started to return with the ease of lockdown, says Baynton. “The simple mental health-saving fact of being able to meet up with family in a garden helped a lot.” 

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Trying to write comedy against a such a serious backdrop of world events also felt uncomfortable, says Baynton. “You feel like it’s almost… immoral is too strong a word, but when there are nurses and doctors and teachers and crucially important people doing the work they do… It felt like an elephant in the room to be tap tap tapping away at a story about another day at Button House and what the ghosts are up to.”

It helped to know how warmly Ghosts series one had been received by its many fans. “What’s touching is when we do get messages from fans who say how much the show means to them. I know how important comedy has been to me in my life, so if we can be that to other people, it doesn’t feel completely frivolous.”

Ghosts, with its colourful selection box of characters (there’s a caveman, a headless Elizabethan, a 17th century witch, an excitable Regency woman-child, an Edwardian snob, a WWII captain, a 1980s scout leader and a 1990s Tory politician) may look frivolous, but series one had moments of real pathos. Baynton is proud of the fact that the series doesn’t shy away from the bleaker side of its ‘dead people’ premise. “If you really interrogate the truth of it – these are people who lived, people who died, people who loved or were thwarted or killed or suffered injustices or never got to love the person that they admired…”

The original idea was for a much bigger cast of ghosts, with everybody playing multiple parts, Horrible Histories-style. It quickly became clear that the story needed to home in on a small ensemble, giving the gang what Howick calls “its own silhouette”. Had they stuck with the original plan, “It would have been like The Muppet Show,” he says. “Every week would only have scratched the surface.” Too many ghost characters would have diminished the show’s emerging premise, says Baynton, which is about “being stuck forever in a tedious and endlessly repetitive existence.”

A bit like lockdown, we joke. Exactly, says Baynton. 

“We talk about this a lot. The way I see it is that their situation is just the same as a living person’s: they’re stuck, they’re in an existence they didn’t ask for, they don’t know why they’re there or what happens next. They know that there is a next ‘thing’ but whether they go to heaven, or hell, or something else, they don’t know. They’re just the same as people on earth.”

Howick agrees, “Their existence is very mortal in that respect.” 

Writing about the afterlife, a sense of existential metaphor is unavoidable, says Baynton. “There is something deeply relatable about it, which is where sitcom will always thrive. You can’t really fail to connect with a story about a person who doesn’t know what to do with their time or who feels stuck. Regardless of class or job or circumstance, that is all of us.”

If the ghost characters are all of us, they’re also peculiar to their time period. The collision and unexpected blending of different social contexts is where much of the series’ comedy comes from. Howick compares the composition of the group to Blackadder Goes Forth, which kept “ranks of characters from different classes stuck together in a hell hole, cheating death every single week.” 

The source of much of the comedy is thwarted status, says Baynton, “It’s the stuff of Alan Partridge and Hyacinth Bucket and Basil Fawlty… people who see themselves a certain way but who aren’t that way to the audience. Every single one of the ghosts is that to some extent. Anything that gave you status in life, you’re robbed of the second you die, so that’s already pretty funny in the sense of a captain who can’t lead, a wealthy woman who has no wealth, a politician who is not recognised as an authority, a poet who can’t pick up a pen, a Scoutmaster with no kids…”

“Not Scoutmaster!” interrupts Howick. “Adventure Club leader!” Before series one aired, they were instructed not to use the “Scouts” organisation name in scripts. “That was before they knew who Pat was going to be,” says Howick. Pat, for info, is a sweetie, and the Scouts should be proud to have him. He’s also a vibrant dancer, as series two, episode two shows. 

“There’s a lot of dancing this series” says Howick. “Without giving too much away, there’s dancing in the last episode. I think Thomas’ best dance is at the end.”

Fans can expect more playfulness with series two. Now that the characters are established and the tone has been taken to heart, the team could afford to experiment a little more. “With series two, because the audience hopefully are with us at this point, we can throw different curveballs,” says Baynton.

“In that way that The Simpsons or those long-running American things, you can suddenly do one in black and white, as if it’s a Hitchcock thing. We’ve definitely had fun. There’s an episode later in the second series which is a format of its own. We’re thinking about those things for series three, being free to be really playful with it.”

There’s a Christmas special episode to come, “the last one ever to be filmed!” joked Farnaby at the press launch. The timing on series two’s filming was especially jammy, with only one day lost to the UK TV and film industry shutdown in March. They made the decision not to use supporting artists in the last scenes filmed, set in a Medieval plague village. The irony of having to tell actors they couldn’t come and play plague victims because there was an actual plague wasn’t lost on them, says Baynton.

Thomas gets a gun in series two, they tease, and we’ll find out how he met his end. “The burning question for fans of the show is how the characters died, and you will find out some in each series,” says Baynton. “There are some we’re holding onto for as long as we possibly can, but rest assured, they’re coming!” 

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Ghosts series 2 starts on BBC One at 8.30pm, with all six episodes available to stream afterwards on BBC iPlayer. 

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