#i cannot emphasize enough that that is the actual thing the story is about

[whetstonefires]

I will say I have no real problem being okay with Chrestomanci being a positive figure who also believes in spanking for extreme misbehavior (iirc the thing Cat gets hit for is having supposedly committed assault on one of the servants and Gwendolyn was also getting spanked for something that could probably get her sent to jail) because the setting is a pseudo-edwardian one where it would be sort of weird if he didn't consider that an option on the table, and he is at no point intended to be read as a flawless person.

In fact, the plot of Charmed Life is in many ways Christopher Chant mishandling the interpersonal situation until it escalates to murder and insurrection.

The physical chastisement explicitly was the wrong thing to do, and achieved the opposite of his aims, and he apologizes later, albeit very casually.

The plot of Lives of Christopher Chant, his origin story, is even more emphatically the story of Christopher making bad decisions about who to trust and communicating very badly, until everything reaches a crisis point. Conrad's Fate also features Christopher largely making situations worse.

He's good at his job and generally means well on the whole, but he's very intentionally written as kind of a dick who's capable of charm but not actually good with people, and is used to getting his way.

On the other hand, the backstory book was written later and one of the few ways his parents didn't fuck up was they never hit him, and no one at his boarding school did either, which retroactively makes the ear-boxing scene in Charmed Life more bizarre. I think he gets hit once in the whole book. Outside of being killed; the cricket bat incident doesn't count.

Also there is internalized sexism in it, sometimes it really pops, but the recurring motif of very fake very pretty extremely controlling women as her main style of female villain is also very much a realistic depiction of what the most effective female abusers act like, and how they get away with it. I'm partway through T. Kingfisher's new A Sorceress Comes to Call that's built around such a villain for the same reasons.

(There are male villains in Jones' books built on the same model, like Uncle Ralph, doing the same things but with slightly different tools because gender affects your practical options in a gendered society.)

Which I think is very appropriate for children's fiction? Children are the people most likely to experience this form of abuse and need perspective on it.

Because a lot of Jones' work is in the same category as like, Steven Universe, where if you forget the intended audience is under the age of thirteen and it is largely concerned with the kinds of life experiences you have as a child, you will have trouble reading it in good faith.

The bit I always struggle with is the bigtime of-her-generation belief that the ideal male love interest is about ten to fifteen years older than the heroine, apparently so he can be masculinely high-handed and confident and mildly condescending, and it's justified by the difference in life experience rather than just his being a prick, a strongminded woman can believably live with it.

And like, this formula is not dead; Naomi Novik has at least two instances of this kind of 'ship in work published since Jones died, although with massively larger age gaps because the annoying men are magic. But it's not usually pursued with intensity anymore outside of contexts where the power difference is being fairly explicitly eroticized, so when you see women of her generation upholding it as aspirational in normal contexts, it is very uncomfortable from a modern feminist perspective.

seeing ppl holding up Diana Wynne Jones as a more progressive alternative to JKR when u know the Terrible Secret (that 1 instance of egregious homophobia) but there's no point bringing it up bcos it's in 1 single instance in a book that's out of print so who gives a shit but also like. you know.

[leisureflame]

"I CANT THINK"

If you write, I assure you you have thought that.

Fear no more child, for I have found a solution.

it's called Rapid writing

something we learned when I was in 9th grade drama class and I cannot emphasize enough just how effective it is. Its actually what gave me the idea for my first book.

Stop what you are doing and do what I tell you

go grab either a pencil and paper (or open an empty document)

set a timer for 2 minutes

ask a friend to give you a random sentence. I have a few examples that I myself rapid wrote to: a) I looked around and saw b) the old lady hung from the ceiling and laughed c) purple paint dripped from her long purple fingernails d) there is a hole in my ceiling. e) when I am sad I... f) When you close the door, I... g) there is a wooden door with a gold doorknob

Now the most important thing is not to think of this sentence before you start writing. as soon as you decide which one if you are choosing from my examples (or as soon as you hear it if you are getting if from a friend), start the timer.

start writing the sentence and without hesitating just keep writing. the #1 rule here is to not stop or hesitate for a single second until the 2 minutes are over. you can write nonsense if you want and if you REALLY can't continue then write some random words for a couple of seconds then continue AS LONG AS YOU ARE STILL WRITING.

another rule is that you are not allowed to delete. even if its a spelling error, just ignore it.

after the timer is done, I promise you will have something to work with. now copy the paragraph you wrote and paste it below, here you can start fixing spelling errors and adding things at your own pace because now the creative side of your brain has opened.

don't think about the way you are writing or the words you use, think about the story you are telling. the idea.

Sometimes you will get something beautiful and deep like I did here:

When I am sad I go to my blanket, not many people know about it, all they think is happening is that a child likes to cuddle in a blanket, but no. my blanket has a special thing about it, it is a magical blanket, well, not the blanket itself but the embroidery on the blanket, it simply takes my sadness away but it adds the story of my emotions to the embroidery, my blanket is a very pretty one, it is a pastel blue color and it has so much silk embroideries that you just think its patterns, but it isn't, if you look deeper you will find stories every one of those stories came from someones tears... my tears. whenever i cry, i wipe my tears with my blanket and my pain goes but my story stays.

or

there is a wooden door with a gold doorknob on the door there is a painting of you, and there are many locks on the door from top to bottom, when you open the door, there is a mirror. this door is the door to self discovery, from the outside there is a painting of how people think you look like but when you open the door, you get to see what you really are in detail and look at yourself they way you want to, you can smile or cry and the refection on the mirror will change but on the painting, it doesn't show ur emotions, just how people see you usually.

or you can get something so stupid like i did here:

there is a hole in the ceiling in my classroom. everyday a dinosaur would a pear and eat my lunch and i keep coming home hungry but my mom dsays she packed me enough food. so she didn't feed me. i told her a dinasour was eating my lunch but she said that disasours only live in Norway! so i went into the school vents looking for that idino and revenge my food, we met at last, held our weapons, i was holding a subway sandwich and the dino was holding a bana na MY BANANA  i lost it, so i attacked him one hit on the head and the whole species were extinct , people thousand of years from now said dinos got extinct because of a meteorite but i know better, also i am still alive because whoever kills a dino becomes immortal, also i killed my mom for not believing me and let her starve in her grave just like she let made me starve. and then i killed everyone who was a flat earther because i hate them and now i can kill anyone once i tap them with my super subway sandwich 

(by the way, ignore the horrible spelling, the examples i gave were from the unedited version.)

THE POINT IS ITS ACTUALLY SO HELPFUL. you can use it for a new story idea (i used the blanket one as an element in one of my WIPs and it helped the story a lot) or if you get something stupid like the dino one I wrote THATS GOOD THATS FINE because now you have your creativity going.

I challenge you to actually try this and PLEASE share it with me I LOVE reading other peoples rapid writings. have fun <3

tagging @cosmosandcapybaras24 @ajsbookshelf @gloryofdawn, @chaoticharmony93 @deception-united and anyone else who's interested to try this out and share with me!

[as-if-and-only-if]

the thing that I've got to say is that it really is ethically straightforward that you should vote Harris.

it's not even a trolley problem, it's a trolley triviality. I don't want to use the meme because it seems disrespectful to use those specific images of MS paint people when these are real lives we're talking about.

The analogy itself is serious, though. it looks like this:

the track diverges at the lever; many people are on lower track, while no one is on the upper track. then: the tracks re-converge and continue, and there are people on the track after that convergence.

The point is that the lever—the vote—can be used to prevent those lives on the lower track from being lost, but cannot save the lives lost after the re-convergence.

it differs from the classic trolley problem in an extremely important way: there isn't anyone on the upper track. as such, it's not a question of "who do we save?"—it's only a question of "do we save the people we can?"

(I need to emphasize, because many on this site have long shed the shackles of reading comprehension, that this does not mean that no one dies as a consequence of U.S. or presidential policy choices in a vacuum. It means that your vote cannot prevent that, but your vote can prevent strictly more people from dying, with no trolley-problem type tradeoff of "who do we choose to die".)

~~~~~

you might think that this is abstracting away too much of the real situation—but it turns out it's ironclad.

to see that it is, and reconcile it with reality, we have to ask: what is not modeled by this analogy? where might it fail?

this amounts to asking the question: is there a benefit to killing the people on the lower track that makes doing so "worth it"?

that is: what justification might you have for saying "yes, we actually need to let those lives on the lower track, the ones we could save with the lever, be lost"?

and the answer—as you might have guessed—is that there is no such justification. no peculiar fact about voting means that you should let those people die.

~~~~~

so why do some people—very passionately—insist that not voting is right? I'll survey a few of the most common attempted justifications I've seen, such as:

"I'm not going to vote for less genocide." This is obviously equivalent to "I am totally fine with more genocide!", a truly horrific stance, and yet I have seen it nearly verbatim from so-called "leftists" a few times. My guess is that this usually stems from a kind of perceived moral contamination: a feeling that a "vote for" a candidate is a moral alignment. This is artificial; not real; not consequential. A vote only makes you responsible for the difference between the two tracks while they diverge. Touching the lever doesn't make you responsible for the track. Choosing between these two outcomes is all voting can do—and because voting for most is easy, and doesn't stop you from doing anything else, there are no trade-offs. No "I'm not at the lever, because I had to work on another way." (If your vote is suppressed, that's another story—but this doesn't imply a general anti-voting stance.)

Ironically, some who aren't voting feel they are "keeping their hands clean", when they are in fact actively increasing the chance of more death and suffering. This is kind of the definition of getting your hands "dirty"; it just doesn't feel like it because they're not touching a voting machine, which is kind of just magical thinking. it's not a point not made frequently enough, I think: what some think of as "doing the right thing" here is very much doing the wrong thing, with respect to their own underlying values of right and wrong, and with respect to what they say they care about. those who claim to have the moral high ground by not voting do not actually have it at all.

On that note, some people (fewer, though) seem to think that touching the lever does make you responsible for the track in a real outcome-based way. That somehow, voting lends "legitimacy" to the track, and that by not voting, we are maybe creating a future with no people on tracks. This is just not true; a dangerous fantasy that asks you to sit back and wait for a utopia that's not coming. There are enough voters in this upcoming election that that institution is not going anywhere anytime soon; you'd need a coordinated movement of not voting plus plans for what to do after the state has lost legitimacy, and that is just...obviously not here. To think otherwise is to live in that fantasy, and so to abandon ethical thinking at all, as ethics comes first from a confrontation with reality. you cannot act ethically without acting practically. However: the margins are thin enough that a few people deciding to vote (who wouldn't otherwise) could actually change the outcome. You can actually save the people on the lower track.

Some people think that the tracks never separate at all, or that the same people are on each, or that one way or another, Harris and Trump are "the same". If you think this, please look beyond tumblr "leftists" for facts here. You've been bombarded with all and only all the bad stuff about Harris (not arguing with most of that—though there are misconceptions, e.g. that Biden/Harris provided no protections for trans people); but you haven't seen how much worse Trump is on every single one of those cases, issue for issue, including Gaza. If you think Gaza can't get any worse, you've essentially written everyone still alive there off for dead. Likewise for any group who would suffer more under Trump. Needless to say—don't do that. The comparison—the difference between the diverging tracks—is all that ethically matters when deciding whether to flip the lever or leave it alone.

Some people think voting is primarily "speech", a means to communicate (or worse, merely express), and probably do not realize that this means they think the outcome of "sending a message" (which would do nearly nothing in real terms) is worth killing the people on the lower track.

Similarly, some people think that it's meaningful to "punish" Harris or the dems. (Truly, putting punishment over the cost in lives and suffering is the most horribly american thing to do here.) Some people just want the feeling of punishment, of blame; some people try to excuse their actions in advance ("well, if the dems lose, it will be their fault"), conveniently omitting their own agency in voting, and thus excusing them from the practice of acting ethically at all. Some people think that punishing the dems will actually push them left in the future, to which I say: you don't have a good reason to think this at all, based on history. Parties go where the winning is. And if you do still have a hunch to the contrary, I am sure you don't have a good reason to be reasonably certain of it. This means that you are paying for a gamble, a mere chance, one unsupported by fact, with the lives on the lower track. You can find another way.

~~~~~

Let's be concrete for a moment.

Since this is about difference, let me gesture to a few obvious differences between Trump and Harris: LGBTQ+ rights, Gaza, climate change, mass deportation of illegal immigrants, education, voting rights (and, yes, democracy), the economy, housing, the long-term future success of leftist movements and activism (much more difficult under Trump, who, no joke, has said neatly verbatim he wants to use the national guard and military to handle the leftist "enemy from within", and who can now do so thanks to the supreme court's ruling on presidential powers), everything Lina Khan and Deb Haaland are doing, etc.

And before you respond with something bad the dems or Harris are doing with respect to one of these—I know. Now compare it to Trump on the same issue. That is the only thing relevant to acting ethically in this brutal, tightly-constrained situation.

For example: Harris doesn't want to ban fracking or reduce oil consumption (bad), but wants to fund renewables, stay in the Paris agreement, strengthen climate initiatives in general.

Trump wants to completely gut funding for renewable energy, withdraw from the Paris accords, dramatically increase oil consumption, commercialize NOAA, weaken the EPA, and so on.

We don't get neither. A vote for none is a vote for "worse is fine by me". We are handed the terrible task of making one of these work, and any person actually, practically concerned with that would choose to try to make the Harris version work then spend precious resources fighting the overwhelming tide of the Trump version.

Only someone who does not actually care about these issues is okay with letting Trump in.

Unless you are capable only of black-and-white thinking, unless you can write off the lives in the difference and convince yourself this is ethical, you can see that letting Trump in only lets more lives be lost, and does not reduce anyone's suffering. No trolley "problem". No trade-off.

Voting Harris is not moral alignment. It's not unconditional support. It is maybe the most conditional action you can take: there are only two real outcomes. One not only has more people, as in a trolley problem, but also results in the death and suffering that would result otherwise.

~~~~~

So there it is, spelled out in the most painstaking detail I'm willing to give to a tumblr post: a few of the failure modes of reasoning that lead to not voting. Often simplicity is too simple, a meaningful departure from reality, but in this case the opposite is true: the simple argument

There are two possible outcomes: one of them eases no one's suffering and creates a great deal more. Therefore choose the other, instead of allowing the worse one to come to pass.

—stands up ethically in this case to every sublimation of righteous anger into misguided action.

And I am not using "righteous" sarcastically: it is right to denounce the Biden/Harris admin on Gaza, it is right to denounce the dems on not doing enough for climate change, etc. But that is not the question being asked by your vote. Do not give the right answer to the wrong question.

The question is only: Harris or Trump? Which outcome should happen, now, in the real world, when it's one of exactly two, when "neither" really, truly isn't an option?

If you do not vote, what will your answer be to the people on the lower track? I am sorry; I dreamt nobly, of no track, no lashings at all. No, I was not kept from the lever. It did not even compromise my dream to push it. Still, I just couldn't bear to touch it; still, you had to die, to save me this discomfort.

acting ethically does not always feel righteous. it is not always a release valve for righteous anger. it does not always feel like progress; sometimes it is only the prevention of catastrophe. it is still ethical. it is still necessary. vote Harris. vote to save the people you can.

[muffinlance]

Wait, what’s going on with Embers???? That fic has been on my read later list since 2021, what’s happened with it???

Brief overview, then I'm likely never touching this topic again, because this is not a Drama Blog:

Context: Embers is a super old AtLA fic that was written during the early fandom days, read widely at the time, and was the origin of the widely-used fanon name of "Wani" for Zuko's ship (kind of by default that it was one of the first popular fics to give his ship a name, I think?), even though most fic writers don't seem to realize it's from there anymore.

"What's Going On": I used to include a link in all my stories to it, because I believe in crediting other writers for borrowed elements, and I was using "Wani" in all my fics. But BOY did I not want to be sending readers that way anymore, so I've adopted a new name for Zuko's ship, and removed all Embers links.

None of the criticisms about Embers itself are new; I'm assuming they date back to when the fic was being written, because this isn't an "it aged badly" thing, this is an "actually yeah this gets worse the longer you think about it and I shouldn't have ignored my bad feelings just because some of the worldbuilding was interesting" thing.

An Incomplete List of Why I Made the Change:

I don't actually like the story that much anymore, and don't want to rec it

I tried to re-read it recently to see if some things were as bad as I remembered and it turns out they were So Much Worse Oh Yikes. More specifically, the treatment of Katara and Aang and their respective cultures has... rather a lot going on. One example: The Fire Nation and Air Nomads are both given multiple backstory elements in an attempt to make the average Fire Nation soldier's participation in the genocide/war in large part the fault of the Avatar and the Air Nomads themselves, and also fully justified from the Fire Nation perspective. And I do mean fully. One of its core tenants is "People from the Fire Nation (and only people from the Fire Nation) who don't follow orders Literally Die, therefore murdering pacifists and babies and continuing the war (and their regularly scheduled war crimes) is the only thing it is physically possible for them to do". I cannot emphasize enough how literal that is.

Also the name "Wani" means "Alligator" and is... objectively a pretty lame name for Zuko's ship? Where's the personality, where's the deeper meaning, where's the resonance with Zuko's themes? @tuktukpodfics initially thought I was calling the ship "Wanyi", and that's what I've switched to, because it is Objectively So Much Better. In their words: “Wànyī (萬一): Literally ‘one in ten thousand,’ ‘perchance.’ Used grammatically in Chinese to mean ‘what if’ or ‘just in case.’ I think a ship called ‘The Perchance’ is perfect for a boy clinging to false hope.”

TL:DR; I don't rec Embers anymore, because I don't actually like the story anymore, and there are things about it that get worse the more I think on them. I've removed links to it and renamed Zuko's ship to "Wanyi" ("The Perchance") because our boy deserves a ship name that reflects his character arc.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[thankskenpenders]

Sonic Prime Season 3: Final episodes, final thoughts

Well, here we are. The final seven episodes of Sonic Prime are out on Netflix, concluding the story of Sonic's adventures in the Shatterverse. I've previously shared my thoughts on the first and second seasons, which I was pretty mixed on, but there were still glimmers of hope. The fluid animation, Shadow being fun in all his appearances, Nine being fairly interesting as a jaded alternate version of Tails, etc. There was enough to make me believe that after some highs and lows there was still the possibility that this show could end on a high note - or at least a decent note.

This did not happen.

Sonic Prime's final season sucks. The ending sucks, and the road to get there sucks. It's left me wondering what the point of all this even was. There are still moments I like that I'll try to highlight, and the animators and voice cast are still clearly giving it their all, but these efforts sadly don't outweigh the overwhelming mediocrity of the story. I would barely even recommend other Sonic fans who are on the fence go out of their way to finish it. I won't begrudge people who got more out of this show than I did, but I think overall I just really, really dislike Sonic Prime.

...The problem, of course, is that all other discussion of the show has been overshadowed by needlessly hostile arguments over its place in Sonic's canon. So we've gotta talk about that, too.

(This post will contain full spoilers for Sonic Prime.)

The show's out of ideas but they've gotta stretch that shit out to hit the 23 episode mark somehow

Season 2 ended with the big twist that Nine decided to betray Sonic and Shadow, taking the Paradox Prism for himself so that he could go turn the empty world of the Grim into his own little paradise, since he doesn't believe he'll fit anywhere else. Nine has made himself the true big bad of the show.

The main impact this has is that now, instead of fighting endless identical Eggforcer bots and members of the Chaos Council over and over, the good guys and the Chaos Council have to fight endless Chaos Sonic-style robots sent by Nine while he goes "grrrrr I need Sonic's energy to stabilize the Paradox Prism." This continues for six whole episodes until the series finale, when the show decides it's time for Sonic and Nine to quickly make amends, fix everything, and send Sonic and Shadow home.

That's pretty much the whole season.

I cannot emphasize enough just how much of this final season is just fight after fight after fight against Nine's bots, and how fucking boring that gets. The season feels like one long, drawn out final battle that did not need to be nearly this long, but Nine had his big heel turn 2/3 of the way through the show and we've gotta fill up the rest of the time somehow. The novelty of the bots being based off of Sonic's friends (including the Chocobo-sized Birdie from the jungle world) really wears off quickly when they're just used as generic, silent mooks that the good guys have to fight by the dozen like it's the climax of an MCU movie. The first episode of the season with Sonic and Shadow fighting the new bots is pretty good, especially because Sonic and Shadow's dynamic is one of the few redeeming aspects of this show's writing, but after that it just gets boring. Three full episodes in a row are spent showing all the characters fighting robots in an empty wasteland while Nine scowls next to a big beam of energy. I found myself missing the in-your-face attitude of Chaos Sonic so much. He truly was one of the best parts of this show.

While the cast is busy fighting all these robots for what feels like an eternity, various things of varying levels of interest happen. There's a halfhearted attempt to have some kind of rivalry between Shadow and the main Grim Sonic throughout the final battle, but it completely falls flat because Grim Sonic has no personality whatsoever. It's like Shadow beefing with an above-average Egg Pawn. (Actually, no, that would be funny.) There's also a death fakeout with the two other versions of Tails, where they make a makeshift bomb and throw it a little too close to themselves on the battlefield and seem to get vaporized. If they had actually died there they would have had the funniest, most pointless deaths in the entire franchise.

I also realized at one point that they were trying to do the Avengers girl power fight thing with the three versions of Amy fighting a bunch of Rouge bots. This was very funny to me. Actually, so much of this is just following the tired MCU formula to the letter. Fighting over a macguffin, two armies just kind of running at each other and clashing in a big empty field, constant one-liner quips instead of actual jokes, the need to take out key targets to make the whole enemy army disappear, a villain who has a point but has to randomly hurt people so that there's an excuse for the heroes to fight him. When combined with how shit the multiverse stuff is, this whole show really is just Man of Action tackling some of the most played out storytelling tropes in modern pop culture in the most bland way possible. What a bunch of hacks.

By far, the one truly fun thing that happens in this protracted final battle is when a giant robot based on Big appears. It doesn't have arms or legs, but it can swing itself around to use its tail like a giant mace, and it can also shoot Froggy-shaped missiles out of its mouth. I wish the rest of the show was even half as fun as this. Again, Sonic Prime has just enough good moments to make you mad that the rest of the show isn't better.

The thing is, all this repetitive (but well-animated) action and the thin excuse plot would be totally serviceable if I just gave a shit about the characters involved. But I don't. I don't care what happens to the pirate version of Amy who goes "arrr." I don't care about what happens to Hipster Eggman. And unfortunately, by the end, I didn't really care about Nine, either.

Nine as a villain

It's hard to criticize the story here without it coming off as a broad condemnation of the tropes at play. The thing is, I like many stories that try to do similar things. I love clashes between heroes and villains that are really just fantastical exaggerations of more personal conflicts. I love stories where a tragic, sympathetic villain lashes out at the world as an expression of the pain they feel, and a compassionate hero just has to get through to them. I eat that shit right up. Undertale is my favorite game ever made. Shit, I love other Sonic stories that do these exact things. And Sonic having to fight an alternate timeline version of Tails also has so much potential for drama!

So I can very easily imagine a version of the show where all this works for me. That just isn't the version we got.

Like I said last time, Nine's motivation is just too sympathetic and understandable for his sudden turn to supervillainy to make any sense. He just wanted to start over somewhere where he can be happy after a childhood filled with bullying and loneliness. Nine betraying Sonic and stealing the Paradox Prism to go make his own world? That tracks! Especially since we don't even know if Nine will still exist if Sonic goes through with his plan to restore his original world! But trying to kill everyone in New Yolk City by tilting the world 90 degrees, intentionally targeting the civilian population because it'll get to Sonic? Nope! Sorry, that's a bridge too far. I don't buy it. He's jaded and antisocial, but he doesn't strike me as cruel. Writing in an excuse about him needing Sonic's energy to fix the Prism does not make this make more sense.

This was really just one of those conflicts where it felt like everyone should stop and talk it out. Instead we got six episodes of fighting before one of Sonic's many, MANY attempts at reasoning with Nine throughout the season finally works. This isn't me pulling some Cinema Sins bullshit where I complain about characters in a work of fiction not always behaving rationally - the real problem is that it's just so damn repetitive waiting for this conflict to resolve. This could have been wrapped up in two or three episodes and instead it takes seven.

A brief aside about that weird Dorkly-ass Sonic Advance 3 flashback scene hacked together with mismatched sprites where Gemerl happens to be present, presumably just because he's a part of the sprite for the Sunset Hill boss, and seeing him briefly makes me remember the extended cast from the games and how much I wish they had just made a cartoon about them instead of a bunch of stock characters wearing the skin of Sonic's friends, but then Gemerl just explodes with the boss machine at the end while Eggman is shown to get away so I guess Gemerl just dies in this flashback

Yeah that sure happened huh

The ending

Despite having a final battle that felt like an eternity, Sonic Prime is a show that just kind of... ends. And that ending is weird and haphazard.

The understanding I had was that Sonic's normal world had "shattered" when the Paradox Prism was destroyed, and from those remnants these new worlds were created. This is why they use terms like "Shatterverse" and "Shatterspaces" and why there's shattered glass/crystal/whatever imagery everywhere. This is a broken, fragmented version of the real universe. Right? Right?? Isn't that the entire premise of the show? And therefore, if the universe has been shattered, then fixing it means putting all the shattered pieces back together. Which I would assume means that the Shatterspaces cease to exist.

So, in the ending... Sonic's world seems to just exist as another Shatterspace. Restoring the Paradox Prism doesn't seem to combine the worlds or anything, it just fixes the broken portal to Sonic's world that exists alongside all the others. So... what exactly was the point of all the shattered glass symbolism?

Things only get more confusing as the ending progresses. Shadow brings Sonic through the portal before the draining of Sonic's whatever energy makes him disappear, and they're transported back in time to right before Sonic broke the Paradox Prism. Only Sonic seems to remember what happened (Shadow might remember, but he doesn't say anything), and with the Paradox Prism never shattered, it's unclear if the Shatterspaces exist now.

I'm not particularly hung up on the time loop ending. It's very much in line with all sorts of classic morality tales like A Christmas Carol or It's a Wonderful Life, where the flawed protagonist goes through some kind of magical experience and then returns home with a new appreciation for the people in their life. It's always been pretty obvious that was the type of story they were telling. I'm more bothered by the fact that there's no time whatsoever spent on whether or not the other worlds and the characters in them continue to exist. Sonic seems to act like the worlds will go on without him before he leaves, but it's not like we get an ending scene that shows how the other worlds are doing, so they really truly might as well not exist anymore. Sonic just wraps up the adventure from the first episode when he gets home, and before he can explain what happened from his perspective he's interrupted by a mysterious energy wave from off-screen and it's off to the next adventure.

(Despite this odd cliffhanger ending, the show is extremely over and not coming back. I have to imagine this is just a "the adventures never end" type ending and not a hint that more shit is going on with the Paradox Prism.)

This ending is also a terrible resolution to Nine's whole arc, despite him being the driving force of so much of the show. The way I see it, there are are three possible fates for him:

The Shatterspaces continue existing, and things go as Sonic expects them to go. Nine is allowed to make the Grim into his own little utopia, and everyone else leaves him alone instead of punishing him for all the trouble he caused. Instead of finding love and acceptance so he can heal from a lifetime of bullying and loneliness, Nine is allowed to run away, isolating himself from every other living being in the multiverse, and live alone as the god of an empty world with only his own creations as company. Sonic was his only friend, and he's gone forever now.

The Shatterspaces continue existing, but because of the time travel ending, most of the events of the show never happened. Sonic never helped defeat the Chaos Council, so they still control New Yolk City. Nine is back to living in this dystopian city with no friends. He never met Sonic.

The Shatterspaces have been erased. After fighting so hard for his right to exist as his own person and not just a "wrong" version of Tails, when the timeline is altered, he just... stops existing. Along with almost every other character in the show.

Do I even need to explain why these are all unsatisfying?

Misc. thoughts

I skimmed over this, but a lot of the final season is just spent seeing Sonic's friends bicker with the Chaos Council and then Sonic has to beg them to get along to save the universe. It gets old.

We also never really got an explanation for why the Chaos Council exists. They can't have come from other Shatterspaces because there ARE no other Shatterspaces. If the original Eggman was just split into five guys or time travel was involved or whatever, it never comes up. I can live with this, but it seems like an odd omission for a children's show that's constantly bogged down in technobabble explaining the mechanics of its extremely small and finite multiverse.

I have no idea where Shadow was for the first part of the final battle. I figured Nine must have captured him off-screen after Sonic first left the Grim, but Shadow was just... hanging around until his cue in the script, I guess?

Sonic saying "help a brother up" to Shadow was funny

Hipster Eggman pointing to one of the few nameless extras who tagged along for the final battle and going "Who are you? Seriously, does anyone know who this is?" was the only funny thing he did in the entire show

Mangy Tails randomly pressing buttons on the Chaos Council's generator like a curious animal and managing to improve its output was cute

Rusty Rose randomly realizes that the Birdie in her chest actually isn't being used as a power source, and that the Chaos Council was just... using that to manipulate her, somehow? I don't really know how that works but whatever

The Sonic Advance 3 flashback uses the actual boss music from the game, but they can't use the real Sunset Hill theme because they didn't wanna pay Masato Nakamura for using the Green Hill motif, I guess

To my fellow fans of bad games: did you know that Man of Action wrote the story for the bizarre Square Enix game The Quiet Man? The one where the lengthy FMV cutscenes play out with muffled audio and no subtitles because the protagonist is deaf, so you can't tell what's going on? And you had to do a New Game+ playthrough to actually hear the audio and understand what's going on? The worst-reviewed game of 2018? That one? I only learned that recently and it blew me away

So yeah, that's the end of the show. I didn't like it, and I don't think I liked the show much as a whole. I am far from alone in this sentiment, but the reasons why people dislike the show... those vary a bit.

The canon conundrum

More than anything else, it seems like most other discourse surrounding this show has been consumed by one talking point:

How can this be canon? Why is it canon?

I want to state very clearly up front that I, too, am a person who's noticed and complained about the inconsistencies with the games in Sonic Prime. Some of the characters are a bit off - or, you know, completely unrecognizable when discussing the writing of some of the AU counterparts. I think it's lame to say Sonic and friends all live in Green Hill and act like that's the entirety of their world. That sort of thing. But if Sega says it's canon to everything else? Sure. Fine. There's weirder shit in the canon.

Really, most of this can be explained away pretty easily. The show was written at a time when Sega was still figuring shit out and there were looser restrictions. Why does Sonic act a little more immature? Probably just because Prime is aiming for a slightly younger audience than the games or the IDW comics. (And also it's, y'know, written by Man of Action, who people have accused of only knowing how to write one kind of protagonist for years.) Why do Sonic and friends live in Green Hill? Because that's the most recognizable location from the games, and the game world doesn't get enough screentime to justify modeling multiple different environments, so they just focus on Green Hill. Why is this considered canon to the games? Because this is the first Sonic cartoon that outright references events from the games as things that have happened to Sonic in the past.

But announcing early on that Prime would be canon certainly let fans' imaginations wander. It was one of the few things we knew about the show before it premiered. People wondered if characters from the games and comics who had never made any appearances in Sonic cartoons might get their time in the spotlight. We wondered if it would tie into the lore or any existing storylines in interesting ways, like the IDW comics do. But above all else, we hoped that its canon status would mean that Sonic Prime would finally be the Sonic cartoon that was faithful to the source material with no catches. We've literally never seen the actual world of the games brought to life in a TV show. Sonic X came the closest, but that still took its liberties. And so hype built for this Canon Sonic Cartoon.

And then it actually came out, and after a brief intro in Green Hill based loosely on the games, it spent most of its running time focusing on things like "what if there was a version of Eggman who was a bratty teen who just wanted to play video games?" The disappointment among fans is understandable. I am disappointed. Look at how much I've bitched about this aggressively mid cartoon.

Some fans, however, came up with an elaborate theory about the series. You see, when asked about the show's place in the game timeline during a live Q&A, Ian Flynn (who only served as a consultant on Sonic Prime and did not write any of it) said this:

"I cannot answer because I know the answer, and you haven't finished watching the show yet."

A couple days later, when answering another question about Prime's place in the timeline and also about a writing discrepancy, he said this:

"As to where it fits on the timeline, I can't speak to it because that would spoil the show to a degree. So you're just gonna have to wait 'til it's done. Towards the other point, I don't know how much I can say, so it's probably better that I not comment. That's a really dissatisfying answer, I know, I'm sorry, but my hands are kinda tied on that one."

I feel the need to quote Ian directly here, because these very basic statements about how he can't talk about behind the scenes shit or anything from unreleased episodes was GREATLY misinterpreted by the fandom. People clung onto Ian's claim that we had to keep watching like a life preserver. Some took it as Ian saying that the ending would explain everything. Finally, we'd have a definitive answer for every little discrepancy and the apparent differences in worldbuilding. An explanation for why Sega and the producers repeatedly insist this show HAS to be canon.

And to these fans, the only explanation that made any sense... would be if the ending of Sonic Prime pulled a Flashpoint.

As this theory explained, the Sonic we were following in Sonic Prime wasn't the Sonic we know from the games and the IDW comics, and likewise the world he comes from isn't really the game world. This is a different Sonic who fights a different Eggman in a world that's literally just Green Hill. It was a hint that something was off all along! But in the end of the series, this Sonic would sacrifice himself to merge all of the Shatter Spaces together and form a brand new world, and that would be the more visually diverse world of the games and comics. According to this theory, Sonic Prime was canon because it was a new origin story for the entire franchise.

I want you to really stop and think about how asinine of an origin story this would be. Really drink this in. The idea that there was another, slightly different version of Sonic who went on a kinda shitty multiverse adventure and then sacrificed himself to create the real Sonic that we've known since 1991. People convinced themselves this made more sense than the simple explanation that a different team of writers got some stuff wrong and Sega didn't make them change it. Interviews where producers talked about drawing on Sonic's "mythology" (ie: they reference the games in the show) were taken very literally - they must be saying that Prime's story is mythological in nature, and that this show would be integral to the games' mythology. Why bother making a show that's canon if it's not going to be crucial to that canon, after all?

The final episodes dropped, and none of this happened. Because of course it didn't. It was all Sherlock fandom-level copium. But fans were left confused by the lack of a grand reveal of where Sonic Prime fits in the timeline, believing they had been promised this, and they turned to Ian for an explanation. Ian's answer:

It doesn't matter, b/c Prime wipes itself out. It's sometime after Advance 3*, but otherwise, it's moot. I didn't want to sour anyone's expectations or investment by spoiling how Prime resolves, that's all. If you enjoyed it, awesome. Savor it. If you didn't, then you can safely ignore it. Simple as that.

* About a trillion people have um, actually'd Ian to point out Orbot and Cubot briefly appear in the show, but if we're really being pedantic here we don't actually know how long before Colors Eggman built Orbot and Cubot, so it wouldn't be fully accurate to say a story featuring Orbot and Cubot couldn't be set before Colors. Either way, a story set anywhere around Colors, or at any point later than that, could still be described as "sometime after Advance 3." Advance 3 is just the most recent game that has specific in-game events referenced in the show. Yes I can feel myself morphing into the nerd emoji before your very eyes

Anyway, this is the latest reason Ian is getting death threats on Twitter. This time it's over a show he barely even had any input on!

I'll cut to the chase. It is truly wild to me that people are getting this heated over canonical inconsistencies in a series as historically inconsistent as Sonic, to the point that they think threatening Ian is justified. The aesthetics of the entire world Sonic inhabits change every other game. Sonic Chronicles may no longer be canon due to the Penders lawsuits, but it was canon at one point, and it took huge liberties with Sonic's world, moving Green Hill off of South Island and reinterpreting Station Square as a tiny outpost in a snowy alpine forest region. Characters' personalities change from writer to writer and based on what Sega wants at the time, with some being WILDLY different across different games. One game Sonic will be stoic and cool, the next he thinks "Baldy McNosehair" is the funniest thing ever. Sega's STILL trying to figure out what Amy's personality is supposed to be. We still don't have the explanation for how the two seemingly contradictory backstories for Blaze can fit together. There have been multiple huge, sweeping retcons, and retcons to those retcons. Sonic Forces claims that Classic Sonic is from an entirely different universe than Modern Sonic, and the plot only makes any sense if that's true - otherwise, Modern Sonic would have already known Eggman was going to beat him and take over the world when he did, because his younger self had already lived through that war. All of that makes no sense in the newly reunified timeline, but Forces is very much still canon.

For fuck's sake, we're talking about the series where Eggman blew up half the moon and then it looked completely normal in every other game after, explained away as "the moon just rotated so we can't see the destroyed side from Earth." This has never, ever, ever been a franchise where everything lines up perfectly with no issues. It's not that serious.

The real core problem with Prime isn't that things don't line up 100% with our current understanding of canon, or that Sonic's characterization means this can't be the real Sonic, or anything like that. The problem, as I've been saying this whole time, is that the story is bad. None of these discrepancies would truly matter if the story was better. They'd just be nitpicks. The fact that Sonic and friends live in Green Hill would be the farthest thing from my mind if the drama was more engaging, if the villains were better, if the jokes were actually funny, if more of the alternate universe counterparts of Sonic's friends had more than one generic character trait each, if the multiverse was more creative and varied, if the final seven episodes of this show didn't devolve into the third act of an MCU movie and then just arbitrarily end, if Nine's character arc actually had a satisfying conclusion instead of ending with either isolation or nonexistence. Maybe we'd be seeing people talk about more than just whether or not it should be considered canon if the writing was any good.

"Canon" is not real, and it sure as hell isn't worth sending people death threats over. It's a storytelling tool. Real human beings decide what does and doesn't go into that canon, or how much they do or don't want to draw on past stories, when creating a new story. Serving that canon is secondary to creating a story where the emotional truth resonates with the audience. And Sonic Prime failed to do that. That is its true failing.

And finally, to close out...

Since people will ask, here are my current ranking of the Sonic TV shows, now that Prime is finished.

Sonic Boom

Sonic SatAM

Sonic X

The Adventures of Sonic the Hedgehog

Sonic Prime

Sonic Underground

Yes, I'd say Boom is my favorite. It's far from my ideal Sonic cartoon, but it gets a lot of points for being as funny as it is. But the top four are all shows I'd say I like, more or less. They all have their pros and cons.

So now, uh... I guess let's hope the live action Knuckles show coming to Paramount+ is better than the underwhelming synopsis of "Knuckles helps deputy sheriff Wade train in the ways of the echidna warrior" would imply? Maybe we'll get lucky?

[applestorms]

i love near so goddamn much. i finally read the c-kira and a-kira post-canon one shots all the way through last night and AAAAAAAAA my heart. nate river 🫵🫵🫵

c-kira in particular hits me hard bc you can really see that he's still reeling from the events of the main story. it’s a very specific era of near that’s so horribly awkward and insecure about his place in the world, about his role as L, and has so very few people left behind to support him-- really just lidner, rester, and gevanni. so much of that story is about near struggling to figure out who he is and who he wants to be in the wake of Everything, scrambling around in the shadows of all these false gods and blown up egos, trying to grow up and be a Person in the smoking remains of all these people who killed themselves with their own hubris. i mean, just look at this page:

LOOK AT THIS. near is almost shockingly expressive in this story, his grief and regret is fucking Palpable in a way that you very rarely see with a guy like him. it really gets to me that this is the story where near actually opens up about his mixed feelings surrounding the original L, about the interview he held where he picked near & mello out to be his two successors, and all while hiding himself within these massive card towers that you only see to be these giant L's at the end-- a kid barely out of his teens already getting dwarfed by the enormity of the history he is expected to continue and represent. the winner of the game who's only prize is the legacy he now holds on his shoulders, the grief he is cursed with as the only one left behind. this kid barely has anyone now, never even got the chance to truly, fully know what he lost in the first place, these all-powerful figures that have dictated every inch of his life from the moment he stepped foot in that damn house.

and i mean, goodness. what did we expect? i can talk all i want about the cinematic parallels of light & L as opposites, but look at near & mello in literally every piece of official art-- near truly loses his other half when mello dies, and you can just Feel the discomfort, the deep-seated, underlying imbalance in his soul through this shit.

a-kira near, on the other hand, has had the time to grow a bit more at ease with himself, but he still gets to me in a slightly different way. i cannot emphasize enough how utterly fucking perfect the decision to make his hair longer is-- for so simple of a detail, it really sums up so much about his character. this version of an older near feels like a guy who's been stuck outside of time for ages, barely even noticing the constant shifts of the outer world as he holes himself up in his room, hardly aware of the way that his own body stretches and grows and changes with each passing day. doing his job, all just for a bit of entertainment. there is still that distinctly privileged, childish part of him that hides in his forts of toys and makes whatever demands he pleases, but it's more smoothed over, more exhausted, more Done.

he's packed away the grief by this point. dealt with it properly? not necessarily. but the wound isn't as raw now so he can set it aside to be ignored or looked over more easily, focus on the things that he wants to. blow up his toys when they don't meet his standards.

i strikes me as important that near's view on the new kira's shifts so much over the course of even just these two little stories. in the c-kira story, near is so Quick to shit on the new guy as fast as possible, literally snarking him into submission with the fear of his presence alone until he writes his own name down. we never see this "cheap" kira, this pathetic fake that couldn't possibly stand up to the original. (projecting a little there, nate?) he's barely more than a panel or two of hands, and then he disappears from the story forever.

in a-kira though, you get something a little more desperate, a little more hungry-- near really fucking wants to meet this new guy, purely for the sake of talking to him, and is a lot quicker to respect him & the depth of how well he's thought through this plan. at first it seems like he's intrigued by the idea of finally finding yet another equal, someone to match his freak after years of standing on his own, and knowing DN you're inclined to trust that the mind games will eventually happen. but, in the end...

he loses. and doesn't he seem so happy about it?

minoru really is the perfect match for near in a way-- a new, passive kira, uninterested in the bullshittery of killing and shinigami and evil murder diaries, to reflect and match the tired, new L who was done with his job before he even started doing it. RIP minoru dying due to shinigami bullshit, but i'm genuinely happy that this is the ending near gets, the chance to finally lose at something without having to pay the price of human lives for it. winning has almost never been a truly positive thing for near-- his winning wammy's house only gave him the many pressures & stresses of a job as L, his winning against light only gave him a dead mello and a notebook to quietly burn, hell, all of this shit happening at all is what made mello resent him so much in the first place.

but now he can lose. and i think he's all the better for it.

near is immature, yes, he bossy and snarky and blows up his toys without giving a fuck what anyone else has to say-- but he doesn't get ahead of himself in the way that light and L and the others did, a trait which ultimately lets him win but also leaves him behind to shoulder the grief of a generation. but now he can lose, he can let the fate of the world fall of his shoulders for just a moment, and everything is still going to be okay. it's good to see him getting older. it's good to see that you can still move on and grow, even when it seems like the legacies of the past are locking you away in a cage. i'm glad these manga exist, and i'm glad near can still make it out alive.

[northern-passage]

hi. sending you all the love i can muster. thank you for your stories. northern's mc is my wet pathetic fursona and your vampires ladies are the moonlight in my very dark mental night.

hi. i've been offline a bit for various reasons but i wanted to respond to this and i've been trying to articulate my thoughts and feelings in a way that's productive and understanding.

obviously as a very visible gay person in the south i get it, but i want to emphasize that for the past year, we've all watched the US gleefully partake in genocide. i feel uncomfortable with this sentiment that only now it's scary; i've been scared for quite a long time, actually.

but this fear-mongering that's happening right now is insidious. i don't mean to pretend like nothing's happening, but to act like it's all over is childish at best and actively malicious at worst. to have spent this past year advocating and speaking up against genocide alongside so many others, to have witnessed the hard work so many people have done the last 12+ months (to have watched this genocide basically streamed straight to my phone!) as well as working to combat the racism and misogyny in this country just for people to act like now is the end pisses me off, to be frank. yes things will be harder and uglier, this is undeniable and i'm not trying to minimize any of that, but we cannot just ignore the reality that the worst was already happening; the violence has already been here before trump and it would have continued even without him.

do what you have to do and keep it pushing. go to gaza funds and gaza soup kitchen and donate and boost gfms when you can. look for ways to get directly involved online or in your city. pay attention to what's happening around you, at your school board, at your workplace, at your local library. if you've been privileged enough that you only now feel fear about what's happening, then use that privilege to boost the voices of the most vulnerable among us (and take a long look in the mirror and reflect about why it's taken you this long to show up). and understand that it never has been, and there is never going to be a point where it's "over."

[asleepinawell]

sorry if this seems a bit out of the blue, but ever since youve been posting about fallen london, im a bit curious about it! What is the game about and where can I get it?

oh no worries! I'm happy to ramble about it

fallen london is a free to play browser game you can find here. the basic premise is that sometime in the 1800's the entire city of london is engulfed in a swarm of bats and then falls through the earth into a cavern a mile below. this is the neath, a huge underground cavern where london sits on the shore of a vast ocean. queen victoria is still around locked in her palace being a typical shitty british monarch, who, amongst other things, decided that 1900 was cancelled and we were just going to have 1899 for a second time

things are a little...different down there. humans are far from the only ones running around. there's devils, rubbery men (think mind flayer vibes), clay men, and the shadowy cloaked figures running the bazaar (and the city) called the masters. death mostly isn't permanent and the dream world is a little too real. also, most importantly, cats can talk! and there are tons of them! and tigers too

it's got victorian, gothic horror, dark humor, lovecraftian vibes. also it's extremely queer as is everything the dev, failbetter games, makes. something I especially appreciate is that you don't have to give your character any particular gender (though you can) and some of the little avatars are very gender neutral:

since it's free to play it comes with the normal things that type of game has such as real money transactions (completely optional and unnecessary for enjoyment (though some of the bonus side stories you can buy are extremely cool)), limited number of actions you can take (max of 20 at a time and refills 1 per 10 minutes). it is definitely grindy too though there's so many things to do (cannot emphasize the insane amount of content enough) I will usually just switch things up every so often

it's single player for the most part but you can ask friends to assist you in certain actions and there are some specific items that can be sent to other players

(if you like the setting but not the free to play part you can check out mask of the rose which is a visual novel they just released set right after london fell. it's a romance but with full aro and ace options (which I actually preferred) and a murder mystery. that one is a normal just buy the whole game deal and I think it's on most platforms. there's also sunless seas and sunless skies which take place in the same world but are a very different type of game and would require their own post. all of these have great writing in them)

but back to fallen london. it works based off of 'storylets', or little short stories when you usually do a skill check to accomplish something in return for advancing the story, levelling your skills, and reward items. you unlock more and more things as you go and get access to new stories and areas. here's an example of one of the little activities and its resolution

since it's a game designed to be able to play endlessly there isn't really a way to lose or game over. you can die but dying is just a minigame of its own and sometimes even a thing to do purposefully. (the only actual way to die is the notorious story called seeking mr eaten's name which you may have seen me post about, which is a very unique story that will permanently erase your character at the end. why you'd ever want to do that would also be its own post. it's pretty hard to stumble on accidentally I think and extremely well-marked as a thing with severe consequences that you probably shouldn't do. or should you...)

anyway I'd definitely recommend giving fallen london a try if you're interested in the premise and aesthetic

[bigcowboydyke]

about your disability pride month post: is there anything important/significant you think people should take notes on when writing a character with an upper arm prosthetic? (like starting from the elbow if i phrased correctly)?

Yeah! I think the biggest is that you ought to consider first, esp if its an OC, your reasoning for making the character disabled- you wanna make sure you're not fetishizing or exploiting their disability to prop up abled characters. I've got a list of questions for authors to ask themselves along those lines that I can post or dm

Secondly, you have to consider what level of realism you wanna go with. If you have a character where, in universe, the prosthesis functions in exactly the way an arm does, you could just go with that if you want - it's the path of least resistance, right? BUT you ought to consider that most prostheses in media exist in that way AT THE EXPENSE of good representation of disability. Erasing disability or "curing" it with magical prostheses IS a form of ableism that is so pervasive it just goes unnoticed by most. I believe personally that disabled bodies are worth portraying well even when the creators of the source material did not do that. SO if you want to go with real well thought our representation, here are some common things I think authors and artists often miss (specifically as it pertains to upper limb prostheses):

1) I already said this, but seriously, I cannot emphasize enough that upper limb prosthetics ain't cheap and are usually uncomfortable. Your character, if they are poor, or even like middle class, won't have access to multiple high tech popular mechanics cover story type robo arms. Even if they did ...

2) Not all limb different folks use prosthetics! I personally have used multiple and I disliked them. I tried very hard to learn, but there are multiple requirements to be able to use each model and sometimes, a lot of times actually, limb different people - especially people without a hand or an arm function Better without prosthetics. Be aware in your art that limb different people are Whole. How you ask can somebody without an arm, say, do all that stuff?

3) Consider the idea of adaptation in your writing and art instead of relying only on magicking disability away with prosthetics. Disabled People live in a world full of barriers and tend to be Very creative about navigating it, adapting to our environment through just being a little clever about how we do things is the biggest way i see other people with upper limb differences interact with the world. There are three main ways that we go about this without prosthetics: Using adaptive equipment, Finding an alternate method, or as a last resort, asking for help.

Example 1: I have like 1.5 arms ok so obviously only 1 hand, and I need to clip my fingernails every once in a while. The obvious solution to me, while it may seem gross, is just to bite them off. Bad habit, but efficient. I could use those horrible little nail clippers, with my remaining stump and a little finagling but it takes forever. I could also get some adaptive nail clippers - they make great big handled ones for ppl that can't grab the little ones. Or, I could ask my partner to trim them, but I'm usually too proud to do that. Let disabled people have their flaws too lol!

Example 2: I love to rock climb. This is where adaptive equipment comes in. I could slip off a rock climbing wall pretty easily right? So bouldering (rock climbing without harnesses) is totally inaccessible to me. But if I go to a gym that has harnesses, then that's fine - they catch me if I fall and that's adaptive for me.

Adaptive equipment comes in many shapes and sizes and can be regular items repurposed.

3. If after all that you Must create art or write about an OC or preexisting character that uses upper limb prosthetics, consider that in general, limb different people's prosthetics are not equivalent to having two arms. Prosthetics are only practical for limb different people if they enhance your life or are useful in some way, however, getting one high tech enough to do that is unlikely because they are expensive. There are different groups, clinics, and charities that make lower cost options but they tend to be much lower tech than is depicted (and often are clunky). My first prosthetic was a long flat piece of metal, similar to a doctors tongue depressor, attached to a plaster cuff velcroed around my stump. The idea was that since I had a little bit of stump poking out, I could pin objects against the metal and it would work like a crab's pincers. It was okay, but I did accidentally smack many. Many. Things with it, including my own face and since it was metal, that was unpleasant. Obviously hindered more than helped. Also it did not look even remotely like a hand.

4. Which prosthetics you can get generally depend on what you got on you. Literally. Bodily. With upper limb prostheses, If you don't have an elbow or wrist, your options are almost exclusively limited to the pricier electric options that are both super futuristic, unavailable to many, and also like new car priced. Many of the manual, non-electric models depend on the ability to flex a wrist or elbow, so if you have those things are a little more accessible overall. It also matters whether you are born limb different like me, or if you are an amputee. Amputees are more likely to be candidates for prostheses than people like me because they have all those preexisting muscles and nerves for prosthetics that are higher tech and require surgical attachment Also prosthetics might be an easier learning curve, and more useful for somebody who has been abled bodied than it would be for somebody who never had that limb in the first place.

5. This is a little thing and ... Not to get too medical with it ( and neither should yall) but limb different people often have physical changes associated with lack of or loss of limb. If you do not have a limb, you are not going to be developing the muscles that are surrounding it in the way an a nondisabled person would. Again for example I have 1.5ish arms which means I've got plenty of stump on my "affected" limb. Even when I did Varsity sports and everything, I was never able to get beefy on that side. It is a pet peeve of mine that many people do not seem to get this - Most art I see of vash the stampede has him with two super beefy shoulders and like yeah i get it that's hot, but if hes got roughly the same amount of stump as me, he probably shouldn'tlook like that. Another thing in this vein is chronic pain is associated with limb loss and limb difference- I have it and its reasonable that any prosthetic user or nonprosthetic using limb different person is more likely to have it. Again these are little things but if you're looking to do good representation you need to consider that limb difference is not just a cool little stylistic choice to make a character look tough or what have you - limb loss and limb difference mean that that character will not only think differently than abled bodied people, but move differently, pose differently, have different routines and preferences than are ever represented in most media. Disability is not a style, and it's not a diagnosis, it's an identity. It's important above all to be respectful of that by letting go of centering able-bodied expectations and aesthetic in your art and writing. Hard to do but i believe in y'all!

Hope that helps! I've also got a bunch of links to go along with these points, if you want them lmk! I'm always happy to take asks about this stuff!

Tl;dr please consider making characters that don't use prosthetics, or don't use them excessively because it's more realistic, better representation, and makes me, a disabled dyke on the internet, really happy.

Lastly if y'all liked my advice and appreciate my time you are always welcome to tip me for it - my c*sh*pp is $neptunedrive

[aritany]

WIP INTRO | MAYBE TOMORROW I'LL KNOW

genre | lgbTq+ contemporary YA romance

pov | first person present tense, single

status | drafting

summary |

When Laurie wakes up in the driver’s seat on a highway with no memories in a girl’s body, a car crash is small potatoes. Having to rely on a handsome stranger’s kindness while pretending he actually is this 17 year old girl named Valerie is a comparative nightmare. But waking up on that same highway over and over again and watching the days tick down from one hundred? Re-meeting Gideon—that handsome stranger—every day, while navigating his new life in a body he can’t stand, with no idea where his real one is? Nightmare doesn’t cut it. If that’s not enough, learning about the girl this body belongs to raises way more questions than it answers, and when Gideon is drawn into the time loop, the story Laurie’s been telling starts to crumble. All he has to do is find the person he swapped with, figure out how to get back in the right body, break a time loop before the clock hits zero, and not fall in love with Gideon while he does it. Easy. Right?

first line |

When the nightmare ends and I open my eyes, I know three things only: first, the backs of my hands on the steering wheel are covered in freckles; second, the radio is blowing static; and third, I’m going a hundred and twenty clicks on a highway I’ve never seen before in my life.

tropes/themes/i'm luring you in and nothing bad will happen to you psychologically i promise |

time loop AND body-swap alex doesn't that seem a little self indulgent AND WHAT ABOUT IT

transgenderisms

second-and-third-and-fourth chance slow burn romance

cannot emphasize enough the transgenderisms

self-discovery

narrator is autistic and everyone else knows but them

THIS IS A TRANSGENDER LOVE STORY

what if you had to fall in love with someone who always FORGOT you (until they didn't)

narrator is a stone cold bitch

in case you missed it somehow this is the trans agenda actually

narrator is vaguely genre aware

PLAYLIST | PINTEREST

ask to be added to the taglist!

[animegirl3476]

Another day, another discourse comparing and contrasting Shoya and Shoko’s relationship in A Silent Voice with Katsuki and Izuku’s relationship in My Hero Academia.

At the end of the day, you’ll never get a 1:1 comparison with these two cases due to the fact that 1) They belong to vastly different genres, 2) One is far longer than the other and 3) One is a grounded character drama and coming of age tale.

But…

I think that A Silent Voice provides a fairly good basis for judging the way MHA handles the relationship development of two characters, where one used to bully the other and an arc of atonement occurs. More importantly, comparisons to A Silent Voice highlight the shortcomings of Katsuki and Izuku’s relationship development and allows me to understand and actually communicate what I don’t like about the way the story handles it.

In my opinion, what sets these two stories apart in the way they handle the atonement arcs of their respective bullies is the way they portray consequences. The big “C” word tends to elicit a hostile reaction from certain fans, who assume that your idea of consequences must necessarily involve the bully character being gratuitously punished and made to suffer as retribution for their past actions. But a consequence is just the “result or affect of an action or condition” and can range in severity, it can have many different effects.

A Silent Voice uses social consequences to prompt change from its main character. Shoya’s bullying results in him being shunned by his classmates and friends, and the story goes to great lengths to show how his actions not only hurt his victim, but that they also hurt people he cared about. His mom has to reimburse Shoko’s mom for the damaged hearing aids (when she is already short on money) for example. Furthermore, the knowledge of his past is something that impacts the way others perceive him, and that change in perception is essential to his arc.

More importantly, A Silent Voice makes it clear to the viewer/reader that despite Shoko generally being a kind and forgiving person, the bullying still hurt her deeply enough to leave a long lasting impression. Shoko is receptive to Shoya’s will to change, but the story doesn’t ignore that Shoko suffered greatly and that the bullying made her sad, frustrated and even angry. Her negative emotions are not overshadowed by her desire to see Shoya become a better person.

The thing that holds me back from enjoying Katsuki and Izuku’s relationship development is the lack of consequences Bakugou receives for his bullying (which is directly connected to the way the narrative denies Izuku both agency and introspection) The hard truth is that Bakugou faces little to no consequences for his past behaviour, and one would think that such a topic would have to be brought up at some point because, ya know…he goes to a hero school. A HERO school, a place where people train to be role models, help people on a large scale and protect those who cannot protect themselves.

The first scene we see with Bakugou depicts him as the opposite of a hero. A mean bully who beats up people weaker than him, and this is emphasized by the fact that he targets Izuku, who has no means of defending himself. Despite this, he gets into UA, which isn’t necessarily a problem because it communicates a major flaw in the system that cultivates heroes (Overlooking certain problematic traits in favour of innate talent and strength) BUT, the information that he used to be a bully never comes up among his classmates in any major or lasting way. We saw his classmates, and even his new friends discuss or think about how much they abhor bullying. The students of class 1A do not like it when people abuse their strength to pick on those weaker than them…yet that never seems to connect back to Bakugou’s past as a bully.

This issue is exacerbated by the lack of attention given to Izuku’s side of the story. In stories that involve the atonement or redemption of a bully, it is CRITICAL that the victim’s side of the story is treated as something equally important to the bully’s side. It’s not something that can just be overshadowed by the bully’s side, it must be focused on in order for the atonement arc to work.

It’s disappointing that Izuku lacks the introspection that Katsuki gets, and very unsatisfying that it effectively lets Katsuki off the hook for literally every bad thing he’s ever done. The ways the bullying might’ve impacted Izuku for the worst is hardly ever discussed because every time the narrative approaches the topic, it always pivots to Izuku praising Katsuki for the things he did right. This is a big problem, because it silences any discussion that focuses on Izuku’s feelings and shines the spotlight on Katsuki instead.

Before I end my little tangent, I also feel the need to say this: Pointing to any instance of Katsuki’s suffering throughout the series IS NOT EVIDENCE OF CONSEQUENCES! Any bad thing will happen to Katsuki and people will proceed to say: “SEE?! Did you see that?? Katsuki HAS faced consequences! How can you say that he never faced consequences for his actions? Why do you want him to suffer?” It’s so disingenuous and it’s a terrible argument that refuses to criticize the text.

[jewish-vents]

Two vents in one post:

Vent One, the 'oy, goyim' vent: I've been walking a girl home from classes this summer because she is - totally, utterly justifiably - afraid of getting jumped by antisemites en route. People have started to say something or approach and then backed off when they see my 6"4 jiu jitsu and boxing enthusiast self near her. Everyone is so, so ready to throw down when they see a 5"0 Jewish girl who has a giant plushie backpack. The second they realize the fight might be fair, they back up. There's something about that that lays bare just how cowardly bigots truly are and just how divorced from justice this entire thing actually is. It was never, ever about Palestine. It's not about Palestinians. It's about having an excuse to be evil. As we learned in psychology class, power reveals - when you give someone the power to do what they always wanted to do, you see what they've always wanted to do all along, deep down.

Vent two, the 'oy, Yids' vent: It's been a surreal experience for my Bukharan Reform self to be talking to and getting close to an Ashke Orthodox girl daily. At first I thought I was in for more of the snobbery Orthodox people I'd known freshman year gave out. Instead she was really nice from the get-go, just shy, probably because of the height difference and her being an introvert. But talking makes her less anxious so I made an effort to talk. Somehow over the summer we ended up falling for each other, which is wild since I have never been attracted to a single person in my life, but I digress.

Her parents are furious at her for walking with me and not walking with a "proper" or "appropriate" person. They don't know we're dating. They don't consider me Jewish. And it's so baffling to me because... well, to be blunt, life sucks right now. It's awful. If we can be happy together and make each other laugh and smile, who gives a damn about Orthodox vs Reform, Ashke vs Bukharan? Can we please just, as Jewish people, be a united people in terms of being nice to one another and letting people live their lives? I cannot emphasize enough that we walk together, we sometimes get lunch together and we go to the museum together - nothing sinister. Nothing horrifically goy-ifying that'll turn their daughter less Jewish somehow.

At the risk of sounding whiny I just want to be able to walk with her and exchange stories about dumb stuff our cats do without anyone acting like it's a sin. I just want to be able to exist with someone Jewish happily and peacefully. I don't think anything bad is going to come from that.

.

[gutsby]

Ok sorry this might be long but I want to say that you are truly an all star in the joel fandom, guts. I read Seeing Pink like 3 times last week. Waiting game has changed my brain chemistry for fucking real. I think about it TOO much. I think I actually need to take a break from all the smut I read in general and all the smut i RE-READ too, waiting game definitely top of the list for the latter. If I ever do find the discipline to chill for a sec, I will STILL think fondly of our bestie reader and dbf joel in my moments to spare. The latest chapter was to die for, the angst killed me. I hope all will be well in their perfectly written fictional universe and, with love and respect and zero pressure, look forward to any future chapters we get!

Even though I just said I need to take a break from how much smut I read, unfortunately i've been peaking at some of the daryl fics and I've literally never fucking watched the walking dead lmao and based on what I've seen some of your other anons I've read, I may need to read Wedded Bliss even though I don't have a leg to stand on there either! The point is like YOU ARE A GREAT FUCKING WRITER.

I'm almost done ranting but I was wondering if it is not too intrusive to ask, are you a writer offline? Like is that your job or a job you hope to have? Not specifically asking where or in what capacity or anything but I was mostly just curious about the mastermind behind all this amazing writing we get. I am a big reader (of things other than smut, i swear, but that too obvi lol) and I have aspirations of little stories here and there. I saw your response to that anon who wants to write and it was so sweet. But I totally got where that anon was coming from. I have self doubt beause even though like for most people this is just a hobby, it's intimidating and wild that we've got people like you with the ability to be full blown fucking novelists in our midst on tumblr. Ok I'm done being crazy on main. Thank you again for everything for real for real for real!

With all due respect………I’M FUCKING SOBBING!!!!!

Thank you so much for this kind message!!!! 🩷🩷 It makes my week to hear what y’all think of what I write, and I’m so thankful to have people like YOU reading and rooting for these stories and characters - I’m continually in awe of you guys and everything you do and don’t deserve it. I hope to update WG very soon and keep their dumbass romance alive too!! 🫡🫡

And not intrusive at all! I don’t share a lot about my personal life on here, but I’m a lawyer! I work in the most boring ass practice area requiring zero creative writing whatsoever…..so Tumblr is a huge outlet for me LOL. I think it would be awesome to get published someday, but it’s more of a dream than a goal atp! I just like to write.

If YOUUUUU ever wanna start writing too, GO FOR IT!! I’ll try not to scream at you like I did the last anon but holy shit please write if you ever have the slightest inclination to do so—the world will be better for it, and you’ll learn and grow so much. Even if it’s scary. Even if it’s intimidating. Even if you don’t think your stories will “measure up” to what other people put out….WRITE IT!!! I cannot emphasize that enough.

Anyway thank you again from the bottom of my heart and I wish you the best of luck in life and writing!!! ♥️

[belindarimbi13]

my thoughts on the color version of mitsuya's design.

For a long time, I always had the impression that the dress is in black and white colors.

Like, I've written enough Doramitsu fics to emphasize these colors.

... The renowned dragon soars up to the heavens in light cashmere, and the other dragon falls to earth, draped in heavy velvet seeking for love ...

For anyone asking why, it never occurred to me that the color could be in any spectrum of red, because I regarded the velvet in the sentence as the type of fabric Mitsuya used, rather than the color of the dress.

Before the fan translation came out, since I cannot speak Japanese, I somehow thought that the darker one would represent Draken and the light one would represent Mitsuya. I remember seeing the design and thought to myself about how it resembled Draken in volume 25. So the darker one must be Draken's!

But the description throws me off because one seemed to symbolize someone's going to heaven and the other fell onto earth, seeking for love. Considering the story behind Mitsuya's design, of course I would think that:

Light = Draken

Dark = Mitsuya

I used this formula for years. God knows, I'm writing enough coda/post-canon for chapter 238-239 using that formula.

But who would have fucking known that I was actually wrong right all along?

Now, let's talk about this official confirmed color version of the manga.

The darker one apparently consisted of red color with a gold accent. While the light one as you can see, is all white.

And we definitely could not ignore the fact that the model of each design is having a certain someone's hair right?

It looked a lot like Draken here.

And Mitsuya here.

And don't tell me that those color compositions didn't remind us of them?

Now, I know that sometimes the colored version didn't match the anime. Like here's Draken's hoodie was black, not red.

But take a closer look at these designs and tell me that this is not the representation of Draken

and that this is not the representation of Mitsuya

The color version caught me off guard, especially since Wakui decided to give the model's hair, Draken and Mitsuya's hair colors. This is a fucking representation of them at the finest, Mitsuya reinvent Twin Dragons through his design. In every sense.

I just found out, how far he went for that.

Those designs could be interpreted in many ways, but one thing is for sure.

Don't. Tell. Me. Mitsuya. Didn't. Love. Draken.

Because he did, he does, and he will always do.

[gayofthefae]

You know a big sign? The way they use intimate shots for normal conversations or conversations about things other than their relationship. Perfect example: the van scene. We all know he's thinking about Will, but why? Because of how he's watching him, yes, but the shots are also a lot of dirty OTS, including on Will which, I cannot emphasize enough we should be seeing in his own perspective. Clean OTS shots, shots like the one we have when he's talking out the window. HIS perspective of him telling the story, not Mike's. But instead, we get these even more intimate shots of Will supposedly talking about El (obviously we know he's not) and Mike SUPPOSEDLY listening to a story about El...

But a conversation about person C between person A and B should not be intimate between A and B...You've literally involved another person, that SHOULD defeat it.

The actual shot that inspired this for me was the use of such close shots when Mike is talking in Jonathan's room about how he and El had a serious fight. The shots that close don't make me strong enough to argue, but they do make me at least question his intentions in saying this. They very well may be innocent, but the uncertainty it evokes in their relationship regardless of the truth IS suspicious. Why am I aware of how aware Mike is of how close Will is to him while he's talking about his relationship possibly ending? Hmm?