#i do think that the fandom is also rather responsible

[ngage2003]

There is a joke that always stuck with me from the blu-rays/cast commentary, that being that Jay is a nepo baby and that is how he kept affording motels and gas and food for years, even with no job and a growing obsession. Like a dog to a chewed on and wilting sock, this is an idea I have latched onto and grown unreasonably obsessed with, which I personally believe kind of explains aspects of Jay's character.

⟦content warning: serious headcanon territory, but also still a lot of character analysis bc im coocoo⟧

At the start of the series and even into season 2 of Marble Hornets, I think it could definitely be argued that Jay is a passive character before his continued exposure to the Operator.

Now, that isn't to say he is meek (quiet, gentle, and easily imposed on) but he is very guarded, very willing to fade into the background or just go along with other people. I honestly think that is part of why Alex chose him as script supervisor. Because Alex can be fun but he is bossy and has a very specific vision and likes getting his way. (A trait thats honestly pretty normal, especially in artistic types.)

It is important not to conflate Jay's willingness to avoid conflict with submissiveness, gentleness or a lack of care though. Jay still has his own ideas, and when left to his own devices, a deadly curiosity. (That is why Marble Hornets as an online series started.) He still gets angry too, like when Alex is leading him around in circles because he refuses to/can't kill Jay, but also refuses to tell him what is going on. Jay is forced into action after dealing with this behavior for months, but even before then we see him getting more and more frustrated behind the scenes. (Entry 39 is the first example that comes to my mind.)

It also is important to not misconstrue his selfishness, as many people in this fandom do. Jay Merrick is a bit of a dick. (That is why he gets along with Alex.) He lies to Tim very poorly the first time they meet to get information out of him rather than try to directly ask, he didn't help Masky to the hospital after his leg was broken—yes, he thought what Alex did was wrong but ultimately stayed with him and kept following him for answers. Even with Jessica, part of the reason he cares so much is because he feels guilty/responsible and he is, he pulled her into this out of his damn curiosity!

Statement: I believe Jay holds extreme guilt over Jessica being brought into this and what happened to her. Evidence: in Entry 77, when Tim is saying, "there is two possibilities for what happened to jessica," Jay out of the blue says, "It wouldn’t be my fault!" at about 2:43. Tim never implied it was and the only reason I can see Jay to unprompted say this is because he believes it was.

Jay Merrick is someone defined by curiosity and selfish, but while habitually passive. He lies to hide what he wants and what he is doing, sometimes for an understandable reason but also sometimes out of just, once again, habit.

The question easily comes, why is he like that?

Well! Stick with me here—I think is because Jay Merrick IS a nepo baby. Specifically, I think he grew up in a household where his parents were neglectful, and when he was visiblly upset, that was repaid with harsh rejection and then money or expensive apologies rather than concrete change. It was a situation where, while his needs weren't being met, getting angry at it also feels bad because of how we as a society (and his parents specifically too) worship money.

I think his curiosity partially comes from this neglect too, as growing up his parents brushing off questions and lacking support always left him wanting more but without a way to voice it, leaving him with this lifelong unease and need for answers. His parents kind of forgot what it was like to be a kid and how you literally don't know anything, and would often brush off certain things because of this. Additionally, growing up this way also left him a bit selfish, as coming from a place of wealth, being neglected, and being somewhat isolated growing up as a "weird"/visibly autistic kid, that all left him struggling to connect to people and with his own empathy, as we see in canon. This doesn't make him a bad person inherently or anything, but is just a part of who he is. Aside from the obvious case of Jay dragging Jessica into this, I think an example of this is how in Entry 66, when Tim is laying out all his trauma, there is an interaction that goes like this:

Tim: One of the problems I was having was hallucinations. I had a lot of them. [...] [W]henever they would find me [after i escaped from my room,] I would say that I was hiding from whatever it was I was seeing so they’d bring me back and they didn’t have much of a choice except to lock me in here. That’s when it was at its worse. I’d be clawing at the walls and screaming at all hours of the night, they had to up my dosage just to calm me down, to the point that I was almost numb. Jay: But these hallucinations, what did they look like?

You could say his disregard is due to shock, but in my opinion that'd be a bit too forgiving. Sure, Tim is talking about his awful childhood and he is being pretty vivid but, Jay already knew about it to some extent due to his records, and while generally he is closed off and hard to read, he seems more uneasy with Tim's yelling than shocked. Jay's default is just curiosity and wanting answers, that is just kind of a pattern with him, even/especially at the expense of others.

I think he is so passive also because of his home life. Specifically, that was what made living at home easiest, with parents who like having you as a trophy but don't actually care about you. Keeping your head down is how you survive, and he kind of just accepted that "ok this is how the world works." Everyone wants something from you (a compliment, a second opinion that is more vapid support than substance, praise,) and giving it to them makes it easier. I think Alex wheedled him sometimes to try to get him out of that shell, but to some extent also he liked it, liked having someone who agrees with him, and in turn Jay admired his outspoken nature, blatant hatred of his parents, and tolerance for Jay's "weirdness". (Hyperfixations.) They weren't necessarily super duper healthy, but they were two traumatized kids clinging to each other, and sometimes that's just how the cookie crumbles, especially when you're isolated.

I also think, due to being a late 80s-90s kid, Jay did grow up with the internet and probably to some extent was unmonitored, which definitely influenced and impacted him but also did inspire his love of technology. (Specifically film/cameras.) I think it also to some extent fed into his worse habits by accident though, just the unfortunately common attitudes highlighted by the internet, but also was the original way he sated his curiosity. I think his propensity to tell "white lies," could have easily come from this exposure too.

I have a lot of specific instances tie to Jay's childhood that in my brain define why he is Like That, but this is just an overview of my main thoughts and I hope it makes sense.

[unstableanginapectoris]

SLENDERVERSE/CREEPYPASTA OC

Lately, due to the daily work and studies, I've been drawing how the stars will fall, it's terrible...I was so productive, and now I'm like a lazy cat. And the only thing I'm doing right now is digging through my old characters, restoring them...

And one of them is Corey - a Vandal. It was because of her last variation that this account was taken down for me, it's funny. :D Maybe because she's addicted to explosions or something...But if my account gets taken down again because of her, I won't be laughing out of merriment anymore. Seriously.

But since I wasn't working on her story as such, I just wanted to be in the topic of all these original characters from my favorite fandoms, I think it's literally the character "what happens if you give a monkey a grenade LITERALLY".

Psychopathic, devoid of any morality about the value of other people's lives, the Vandal arranges various kinds of arson and explosions of valuable places for humanity, running into not only problems with the law, but also problems... with HIM.

Yeah, Corey had intruded upon the very holiest of sanctuaries, standing in the path of purest malevolence, and this malevolence had robbed her of the sole solace in her bleak existence — her younger sister. Devastated, Corey was convinced in the depths of her nightmares that her sister remained alive — she found no peace in this tale, for she took two lives with her: one is a burden to eternal peace, the other a torment to eternal suffering, branded with a mark upon her neck.

The general sentiment towards murderers and executioners compelled Corey to conceal her face, not out of obedience to HIS commands, but out of self-preservation. She soon came to realize that a true monster lurked beneath the façade, having ruined her life from its inception. And it is not faceless entities, canine demons, or spectral beings that are responsible for all of this, but rather the Vandal herself.

[rockwgooglyeyes]

warning!! this gets really long lmao - talking about themes in Arcane season two - arcane season two spoilers, kind of obvious but need to clarify. i dont talk about shipping in this at all btw! i have ships i like but like that's not here nor there, not relevant for this imo

I was watching an Arcane analysis video and while I wouldn't really go out on a limb and say that "I know what season two was about" like the themes and stuff because the themes found in a work are, inherently, going to be subjective and up to audience interpretation, and obviously, I'm not going to say that "I know Arcane's themes better than anyone else," I don't, that's not what this is about, but I would argue that season two does have a few universal themes. Some of those are carried over from season one, being relationships and love in general, what we are willing to do for love, but there are some that are focused on more so in season two than in season one.

This might have been said before- I don't really touch the analysis/meta side of the fandom, so I am sorry if I'm retreading old ground. Additionally, while I don't think that season two was nearly as perfect as season one, I enjoyed both and I think they were both solid, enjoyable seasons. The writing in season two was not immaculate but it was not bad, either. If not held in comparison to season one, I doubt it would be judged so harshly. Nevertheless, that's a whole other can of worms, and one that I would really rather not open.

Back to the themes- my argument is that, if season one is about siblings (sisters specifically), trauma, and change, then I would say that sacrifice, love, and the consequences of death, are the main themes in season two. These are all themes that are present in season one (Vander's sacrifice for Violet & Powder, the consequences of Vander & Silco's deaths, love is relevant w/pretty much everything) but they are focused on more heavily in season two.

These in particular are seen but not limited to Jinx's sacrifice for Vi at the very end, Heimerdinger's presumed sacrifice for Ekko, (the more sacrifice oriented ones), Jayce choosing to save Viktor, Caitlyn's fixation on Jinx and her descent into tyranny, Mel being forced to kill her mother, and Singed's obsession with keeping his daughter alive (the consequences of death).

These are the themes that stuck out to me as the biggest because, while there are the more philosophical, overarching ideas of fate and evolution and the multiverse, that's not really something that is widely accessible and they are themes, yes but they are not through-lines for every character. I mean, the fate one could be argued, General Medarda fated to be taken down by family, Jinx and Vander both fated to die, Viktor fated to fail (unable to achieve Hextech dream of helping the undercity, unable to achieve glorious evolution), etc etc, and I would say that fate is probably the trickiest of these themes to really dissect because it is carried out as expected as many times as it is subverted. It's also not really what I am trying to address here lmao

I would argue that there is the consistent theme of the consequences of death, which I know is a little bit of a long theme, themes are supposed to be one word most of the time, but I can't just say that this is the theme of "grief" because it's not just grief. It is about what people do in response to the death of their loved ones. Arguably, that could be what the whole season is about, really. Jinx is reeling at the death of Silco and her starting the war with topside, she has a death wish and she wants to "repent" in a way for killing Silco and for choosing to embrace being "Jinx" which is something she doesn't see any way of coming back from. She finds a will to live in Isha, who gives her a purpose and a reason to stay alive, and that gives her the ability to eventually attempt reconciliation with Vi. Caitlyn is screwed up over her mum's death, trying to maintain the relationships she once had in the face of all of her new responsibilities as well as the war looming, and with her preexisting obsession with Jinx being twisted by her mother's death, she wages war on Zaun and attempt to locate Jinx. In this manic grief, she forces Vi to make decisions that Vi isn't able to truly make (asking Vi to become an enforcer) and she kind of ends up burning all of her bridges, irrevocably changed by her trauma. Which, y'know, fair. At the same time, Vi is dealing with the death of "Powder", finally giving into Ekko's philosophy and vowing to hunt down her sister, which she isn't really able to do without Caitlyn there as a guiding light because Vi is fragile as it is, so when that relationship implodes, she throws herself into the deep end to avoid having to actually think about anything. That's interrupted by Jinx and then both of the sisters face a twisted version of their father, Vander, and try to process that.

Viktor is one of the most difficult ones because his story is so deepy intertwined with Jayce's, they have separate arcs but they are woven so closely together that they are nearly impossible to discuss without mentioning the other. Viktor is fatally injured by Jinx's missile and Jayce breaks his promise to destroy the Hexcore and using said Hexcore to save Viktor's life. This is two different sides of the "consequences of death" because one, Jayce's actions are the consequences of Viktor's temporary death, he acted rashly and in desperation, in a successful attempt to save Viktor's life but on the other hand, it gets into the consequences of death because, why was Viktor saved instead of anyone else, such as one of the council members? Why save Viktor instead of Caitlyn's mother? The consequences of Viktor's death was Jayce once again showing how devoted he is to Viktor specifically, against all odds, and choosing to defy death for someone he loves, which against the natural order of things and directly sets off a series of events that Heimerdinger warned of, and also, that Viktor was scared of.

When he returns, Viktor is himself but he is influenced heavily by the Hexcore, at the same time. He isolates himself and creates the utopia he dreamed of making with Hextech thanks to the powers of his Hexcore. He drives Jayce away on purpose, at first, but the more people who are added to the Hexcore, the more detached he becomes and the less he is trying to distance himself from Jayce. Jayce goes through the whole multiverse shenanigans and comes back grimy and determined to stop Viktor.

The arc for Jayce and Viktor in this season kind of mirrors Vi and Jinx, a bit, with the way that Jayce keeps choosing Viktor over and over, similarly to Vi choosing Jinx over and over, and like Vi hunting down Jinx, Jayce has a period where he turns against Viktor. At the same time, it's different, because it's almost as if this is the same arc that Jinx and Vi could have had if Vi did shoot Caitlyn and play along with Jinx's rules, because Jayce is finally absorbed into the Hexcore with everyone else and resolves most of Viktor's conflict by not giving up on Viktor. By choosing Viktor over everything else. By telling Viktor that even if he can't achieve his dreams, that doesn't make him broken, that his imperfections make him beautiful.

Ekko's story around the themes, I think, is more about the way that the butterfly effect works, how little choices make a big different, and how things could have gone if only things were different, as seen in his multiverse episode. That ties into the consequences of death via showing what could have happened if Vi were the one who died instead of Vander, how that would have impacted their family and their relationships, how it changed the trajectory of the plot overall. Additionally, Ekko is one of the characters grappling with the most grief at the very end, having lost Heimerdinger, who was a mentor to him, and Jinx, who he loved.

It's fascinating how Ekko's story shows specifically his response to loss (Heimerdinger) was to take action, make a practical choice. But also, he latches onto one of the most important people in his life who is still alive, Jinx, and while he is focused on saving the world, he's devoting a lot of effort to restoring Jinx, too, which isn't exactly the most practical decision he could be making. Jinx is notorious for her volatility and Ekko has seen that first hand, yet, he pulls her out of the gutter and will not let her give up. So, while he's more tertiary when it comes to sacrifice plots (Jinx and Heimerdinger) but when it comes to love and the consequences of death, he's pretty focal, as his story ends up largely being about his love for Jinx, his love for the world, and how he deals with Jinx's death and Heimerdinger's death.

I don't want to talk about Heimerdinger I don't like him I don't care.

I could talk about Mel and her relationship with her mother as well, the way it parallels Caitlyn's relationship with her mother, but this post is long enough as it is, so if I talk about that, I'm saving that for another day.

[achaotichuman]

ACOTAR Discussion

Okay, so recently my mutual @sonics-atelier posted this fic Perfect To Me (which is so fucking amazing, I cried, go read it rn) and in this fic, they write about Tamlin developing an eating disorder (specifically anorexia) since his body changed after starting to get Spring back on its feet. And it started me down a whole rant about fictional characters being the pinnacle of beauty standards, specifically in relation to what they're bodies look like. So, to save my mutuals the long spam texts about my thoughts, I'm gonna post em here.

General trigger warning- Discussion of a variety of eating disorders, body dysmorphia and Cassian.

SJM covers disordered eating within ACOTAR, it happens specifically to the female characters. And this is something, I have a huge problem with. That might seem like a massive asshole sentence, but let me explain my thought process.

These eating disorders are not well respresented, they do not further affect the plot, they only serve to be an outward appearance to the male saviour characters that something is wrong, and they never appear on the female characters in a way that makes them any less pretty, in fact, I would say, the resulting skinniness from said disordered eating, is the desired result. By that I mean, yes I think SJM writes her female characters starving themselves to make them fit the female beauty standard.

This is very evident with Nesta, who somehow miraculously only grows thinner in the waist and hips when she is starving herself. But still has massive breasts which Cassian makes a point of oogling, despite noticing how thin she is everywhere else. Instead of taking Nesta's not wanting to eat anything and turning it into a plot point for her character in which she learns to take care of and eventually love her new Fae body, SJM decides to further starve Nesta, but Cassian limiting her sugar intake, so she reminds the same 000 size in the waist.

Now, onto what really, truly makes me angry within SJM's series. Character's gaining weight, rather than losing it.

This happens once in the series. It is one singular comment, that put me off Cassian forever.

"You need to get out in the practice ring, brother. Don't want your mate to find any soft bits."

This comment was from Cassian to Rhysand in the third chapter of ACOSF, after looking Rhys up and down pretty much.

May seem like a harmless jab to a lot of people, but take into account all of the context around it.

Cassian had just been eyeing Nesta's body-clearly suffering from the effects of long-term starvation, like a hunk of meat.

They had just won a war not long ago-still coming down from the stress highs that would have no doubt been enough to put any normal person in bed for a month.

Rhysand had only recently found out about Feyre's pregnancy, if I remember correctly-would have also found out about the risks, and would be dealing the extreme stress that would be causing.

It would be incredibly normal for Rhysand to gain weight because of all these factors. Not to mention this being the first (and I'm fairly certain) only time, SJM's mentions a male character gaining weight, and it being in such a negative light, could only suggest she, and thus Cassian, find the idea unappealing or perhaps downright abhorrent.

Which really fucking pisses me off.

Most of her female characters have experienced a form of anorexia throughout the books as a trauma or stress response. And it never exists to go further than making them more conventionally attractive.

Now further on her male characters, not a single one of them ever has an ounce of fat on their body. Weight gain is entirely out of the question, even when it should be the obvious occurrence due to whatever change in their situation.

Now this also brings me to another problem I have, which also leeches into fandom behaviour.

We all love Tamlin's tits, ofc, ofc, but muscle behaves like fat if its not being actively flexed. Tamlin's pectoral muscles are no doubt incredibly strong, and would, probably be able to crack a nut (no pun intended) if flexed. But if they werent, they would be soft and squishy. No one talks about THAT THOUGH DO YOU???

Not to mention, that, Tamlin is a beast creature, wandering the forests, not training or exercising properly, and is only gouging on the carcasses of animals he kills. This could be an excellent time to lean into weight gain, and the intense feelings of guilt, and body dysmorphia that it brings.

Lets also discuss Gwyn, a traumatised young woman who fled to the Library in order to live a life of peace. She has never trained a day in her life before becoming a Valkyrie, why is she so skinny?

It's never mentioned Gwyn having any kind of reaction to her trauma that affects her eating (as far as I remember) and I think it would be far more interesting to delve into the effects grief and the lose of a dear loved one has on the body and ones eating habits.

Lets talk about Elain, who is said to use baking a coping mechanism, why is she skinny? This is the perfect opportunity to delve into a character binge eating, then extreme guilt from the times where they were in poverty, and purging. But finding comfort in food because food = wealth, wealth =safety.

And in the end, a character can be fat and be happy. Why do we have so many characters that are so thin at the end of their books?

So many of these characters also have near no stability, their diet would not doubt be changing constantly from the inconsistency in their living situations. Which should to lead to drastic changes in their body. This could be a very interesting way to explore body dysphoria. Hating seeing yourself in the mirror even if you just survived battle, because you can hardly recognise yourself. Changing so much in the mind and not even having the comfort of your body being the same. Especially with Nesta and Elain being Made against their will. I honestly believe Nesta's starvation should have been her hating her new Fae body so much that she just wants to destroy it. Her healing, should have been learning to love herself, no matter what body she is in.

In the end, your body is you, but you are more than your body. Bodies are such incredibly fascinating tool, and people don't always have to like what it looks like to care for it. Bodies can be smaller, bigger, stronger, they take your brain wherever it wants to go. But they are not all of you. And that should have been what especially Nesta's journey could have been.

Anyway, this is incredibly sensitive topic for a lot of people, so I do really want to open this up to everyone. What are your thoughts on this topic? Do you think SJM's portrayal of eating disorders is justified, or do you think I'm wrong on any of these points? Let me know in either the comments or the reblogs, I would be happy to discuss it.

[bookwyrm-art-stuff]

A treatise on liufang

(Liu Qingge x Mu Qingfang)

Because omfg did this get out of hand

This whole thing was written in messages to a mutual (shout out to @mamaclownhunter for listening to my ramblings) and is just my entire brain spilled out on the table. Please tell me if I manage to indoctrinate you, they have Consumed my Life and yours may be next!

Now, treatise:

First point: The existence of the ship itself. I know, logically, that the reason this ship exists at all is that people felt bad leaving LQG alone with their bingqiu (and sometimes qijiu) happy ending, seeing as he (to my mind, clearly) likes SQQ. This is rather inevitable, and not uncommon whatsoever; nor are these ships. The thing that makes this one stick out to me is, like… it makes fucking SENSE. The biggest barriers to it are a) LQG likes SQQ (easily explained away, he's emotionally fragile and his rival who he respected as such (maybe more) suddenly added affection to the equation. Also he's gorgeous. Understandable, but darling there was no chance. Etc.) and b) they have little to no canon interaction, and none that I can recall providing any insight into their relationship. (Again, easily explainable; LQG's a side character and MQF's a background character and gods know they're not gonna be interacting much, let alone enough to provide insight into their relationship.) This lack of walls or flaws in the ship is relatively and disarmingly rare when it comes to ships born of what can be called the "leftovers" once main ships are paired off.

Second point: Why it works. First of all, the setup for shipping between peak lords is just… automatically ideal. They're coworkers, and their position mandates that they have grown up together. They also live very conveniently near each other and forced proximity via that and meetings is SO a thing. And, by mandate of their positions, they're all incredibly powerful, and you KNOW we are ALL suckers for power couples in this fandom. Now, when you move down to the ship specific givens it just gets better. Because Mu Qingfang is the Qian Cao peak lord- the head of the medicine peak. And Liu Qingge is the lord of Bai Zhan- the WAR peak. So, by requirement of their roles: 1) MQF can boss anyone around and deal with a lot of bitching (*cough*), 2) Liu Qingge fights a LOT and cannot come unscathed from all of it, 3) LQG's disciples are even worse off on the injury front and probably go to QC for care/supplies very often. No ignoring each other. Also, by virtue of his deeply affection-starved character, if LQG is shown care that takes even the tiniest step into personal/emotional care and affection he is GONE. Basically if MQF likes him (not hard to orchestrate) he is SCREWED.

Third point: Why I like it (analyzing myself and losing my semblance of clinical manner one scenario at a time.) To preface: my taste in ships trends very mainstream- basically nothing I ship can be considered a rarepair. So of course, I had to thoroughly dissect this one. One of the main draws, as I see it, is the characters themselves. I love Liu Qingge. I am deeply invested in his character and struggles and I both want to give him a hug and study him under a microscope. He is darling and severely fucked up, so I'm already in the same boat as the likely creators and patrons of the ship; wanting him to have someone now that his crush has run off with his own disciple who is also a demon lord. I think Liu Qingge should be happy, and I'll be honest, I don't think he'd be happy alone. Now, as for the other half of the ship, and arguably the more interesting one in this context: I am a sucker for medic/healer characters. I think they are a severely underexplored as a trope at large, and the effects that kind of responsibility and work can have on a character are just- chef's kiss. They are also incredibly cool people, a product of the skills they have to learn to y'know... do medicine, as well as those to treat wayward patients. This facet appeals to me in particular because, while I do think LQG could be darling and gentlemanly paired with someone beautiful and elegant like either SQQ, I honestly would LOVE someone who could bring out the feral side of him and has one of their own. (Shen Jiu does this but that is as adversaries.) Mu Qingfang is a doctor. He deals with all MANNER of bitchy, bratty assholes and he would not take ANY shit from LQG. I also think that since he's the peak lord he has a wide range of medical knowledge, including mental health, so basically: he could fix him. Tying this back to my love of power couples: SJ and LQG bring out each other's insanity in opposition. LMY and LQG bring out each other's insanity in play and sibling competition. Now, I raise you: MQF and LQG bringing out each other's insanity in mutually tempered tandem.

(More of) my ideas, headcanons, and scenarios. (Elaboration.) I still have many more, less structured thoughts. Like how therapeutic sparring must be for them; LQG having someone to spar with who can match him and won't hold back but who he also deeply loves and trusts (pause for delight) is the obvious half, but I bet Mu Qingfang would LOVE to just punch someone after a long shift of NOT punching awful patients. Like oh GODS is it nice to punch his husband in the jaw and then watch him heal the bruise HIMSELF with his FULLY FORMED GOLDEN CORE (*sobs in Bai Zhan disciples.*) And also: LQG patching him up. This one works with anyone you deign to ship MQF with, but I think LQG especially would revel in it. MQF getting off a long-ass shift, coming straight to BZ, sparring full-force for half an hour, and then afterwards him leaning on LQG and letting him slide off his robes to clean and properly wrap an injury sustained extricating a fucking dumbass (NOT from BZ for once) from a demon's clutches (they underestimated the situation but everyone got out alright.) How nice it feels when LQG tenderly rewraps the slice on his arm, the release of pressure after having his own hasty, makeshift, and uncomfortably (though not damagingly) tight bandage on for a few hours because he was busy making sure that IDIOT didn't die. The surge of affection LQG feels when he hears how it was sustained protecting the injured disciple, and the gentle kiss he drops on MQF's bare shoulder before getting up to prepare a bath. The happiness LQG feels hearing MQF's exhausted monotone and seeing him slouching against the wall (or, preferably, LQG's shoulder;) not because he wants his husband to be tired, but because he feels safe enough to show it. The way, after a while, that Qian Cao disciples will point LQG to MQF as soon as they see him on their peak, and and vice versa. After battles, instead of off running unnecessary patrols like they're accustomed to, finding LQG in the infirmary, doing simple tasks and intimidating his own disciples into lying still.

[eveningrainstorm]

Listen. Swansea is great; he's a well-written character and I like him a lot. But it's weird to me how much fan content I see about him that seems to make him out to be a lot nicer than he's actually shown to be in the game, and nowhere is this more obvious than in how people depict his relationship with Anya.

I've seen other people address the whole "If Anya had told Swansea what happened he'd have killed Jimmy" thing (she did. he didn't.) but there's a larger issue where people act like Swansea cared a lot more about Anya and was a lot closer with her than is actually the case in canon. And sure, the game leaves a lot of room for differing interpretations of things and imaginings of what could have happened offscreen, but I've seen so many people act like this idea of Swansea and Anya being close is something actually depicted in canon which. It very much is not.

Like okay. Let's talk about this. What does the game itself actually show us about Anya and Swansea's relationship?

Well, we don't see much of their dynamic before the crash aside from them just being coworkers with some level of familiarity with each other. They do stand together at the birthday party, and Anya playfully tells Curly that “Swansea really likes that cake. Don’t tell anyone,” to which Swansea only "hmph"s in response. From this we can gather that the two of them are friendly enough that Anya feels comfortable teasing him. Even so, she certainly isn't an exception to his characteristic harshness and brutal honesty — take an interaction later in the same scene, where a distressed Anya says she has no savings and asks if Pony Express can really fire them like this and Swansea, not cruelly but certainly bluntly, tells her that Pony Express going under has been a long time coming.

Of more importance, perhaps, is the game's first "2 months after the crash" segment, where we are first introduced to both of them — and where the game makes it quite apparent just how little Swansea respects Anya. The very first scene, in fact, features Swansea interrupting Anya and mocking her when she tries to explain why opening the cargo hold is a good idea. Later, when talking to Jimmy, Swansea calls Anya "our so-called nurse" and says that "it's in one ear and out the other" when talking about how she nearly got injured on the broken vent. And if you get the code scanner before talking to her Swansea will tell you to get her before opening the cargo hold but specifically with the justification that "even she couldn't make the situation worse with her presence." None of this is really uncharacteristic of Swansea, given he talks about Daisuke in much the same way, but it's not something that can just be swept under the rug — and yet, seemingly, everyone does. I hardly ever see anyone even mention Swansea insulting her here.

Of course, none of these scenes are where the idea that Swansea and Anya are particularly close comes from. No, that idea comes from a single scene: "3 months after", when Jimmy finds the two of them talking in the cockpit at night. We only see the end of this conversation, where Anya, apparently crying, is saying “No. I understand completely. If that’s how it has to be—”

The game never reveals exactly what the two of them were talking about; the two main theories I've seen are that Swansea was telling her that he was saving the cryopod for Daisuke or that she had told Swansea that Jimmy assaulted her and Swansea was saying she'd just have to put up with being around him for the time being. Personally, I think the latter is much more likely, but either way, the end result is the same: regardless of how much Swansea cares about Anya, her well-being is not his first priority.

We never see any follow-up on this conversation; if Anya and Swansea meet up behind Jimmy's back at any other point, we don't see it or hear it referenced. "4 months after" offers no interaction between the two of them at all, with Swansea busy dancing drunkenly while Anya, on the other side of the lounge, tells Jimmy about the extra medicine cabinet. "5 months after", Anya commits suicide in Medical while Swansea sits drunk and oblivious in front of Utility. The only reference to Anya and Swansea's conversation — and the closest we get to a confirmation of what it was about — comes after Daisuke's death, when Jimmy uses "telling Anya who knows what" as a sign of shady behavior from Swansea, and Swansea agrees that he did talk to Anya, "but it was her telling me all sorts of things instead, wasn't it?", the implication being that she told Swansea about Jimmy raping her.

This line is interesting. Swansea is referencing what Jimmy did to Anya here, and implicitly condemning him for it, and yet... well, Anya's already dead. Swansea isn't doing anything for her, really; he doesn't seem particularly emotional or angry about it, either. All it really is, when it comes down to it, is a spiteful jab at Jimmy — just Swansea, still angry over Daisuke's death, trying to get under Jimmy's skin.

We never see Swansea react to Anya's death. This isn't surprising; we aren't shown what happened when Daisuke got the door to Medical open, and afterwards Swansea is understandably preoccupied with Daisuke's fatal injuries. The first thing Swansea says about Anya after her death is the line about her telling him things. And, well... here's the problem.

That line? Is also the last thing Swansea says about Anya.

He never mentions her again. That one line, the one that doesn't even mention her death, the one that seems more about getting at Jimmy than mourning her — that's the last we hear of her from Swansea. And maybe he does care, maybe her death is just as much a catalyst for him trying to kill Jimmy as Daisuke's is. But he never says anything about her. He doesn't mention her in his death scene. Sure, that last portion of the game is largely filtered through Jimmy's mind, his disregard for Anya keeping her out of focus, but Swansea's death — a moment of sharp, simple clarity in which Swansea says all the things Jimmy doesn't want to hear — doesn't have that excuse. Swansea doesn't say a thing about her, because in the end, he's not focused on her either.

So that's what we have. They don't seem to be that close, before or after the crash, though they theoretically could be. Anya telling him specifically about what Jimmy did could be considered a notable show of trust, but then again she could have just wanted to tell someone and considered him her best option, and in any case if she was hoping for him to do anything about it, he didn't. And despite a large portion of the fandom believing it to be the case, there isn't actually anything indicating that he told Anya about the cryo pod — if anything, his assertion that it was Anya who told him things rather than the other way around is evidence against it. Technically, anything's possible — Swansea could have comforted Anya when she told him about Jimmy, he could have offered her the cryo pod, he could have grieved her just as much as Daisuke — but looking at what the game itself presents, the picture it paints is far different from the one typically seen in the fandom.

We don't know what's going on in Swansea's head. We don't know what happens in the time between the moments the game shows us. But what the game does show us is this: Swansea repeatedly is disrespectful and rude to or about Anya; Swansea doesn't do anything after she tells him what Jimmy did to her; Swansea doesn't have any real reaction to Anya's death. Does he care about her? Probably. I'd like to believe so. But she's not the one he decides to kill Jimmy over, she's not the one he has regrets for in his dying moments, she's not the one he's saving the cryo pod for.

Maybe Swansea cares about Anya, but she's not his first priority. And isn't that sort of the point? This is what the game has been showing us the whole time: Anya is no one's first priority, except her own.

[sammygender]

im new here- is dean abusive?

imo yeah. smarter people than me have written dissections of the way he treats sam & others (he’s also Awful to his psuedo-son jack, but i haven’t gotten to that season yet), i’ve probably reblogged a bunch of them.

he certainly doesn’t mean to be & i don’t say it to condemn him as a person or as a character & i’m still very attached to him & he loves sam very much (not that that makes a difference in whether u abuse someone or not) - but the way he treats sam a lot/some of the time is emotionally abusive and sam is clearly badly impacted. s4 and s8 come to mind as his worst moments also ofc moc era - after that there’s less interpersonal conflict (up to where i am at least) but that’s because sam mostly stops disagreeing with dean not because dean actually gets much better <3 spn is cycles of abuse show after all. family is hell. dean’s learnt pretty much everything about how to behave from his abusive father and as a result. well. cycle continues

[sisterdivinium]

Sometimes I wonder whether the cancellation wasn't positive in its own way.

We went out on a high, so there were chances that whatever came next might not match those expectations; we were left with quite a few unanswered questions, which can be inspiring both for those of us who write fic as well as those who try to read more deeply into the show; there are blanks that facilitate a fic writer's making use of them which might have been filled in less satisfying ways should canon have failed to live up to what we each wanted of it...

But I suppose it's easier to look at it like this from the point of view of someone who is invested in creating her own little versions and what-ifs concerning her favourite characters in the show. For someone who is just a reader or who just appreciates all the ways in which fan creativity manifests itself without much taking part in it, I guess there's a bit more dependence on canon.

[swallowtail-ageha]

I would say that this issue comes also to shipping because (and i say this as someone who is super ship and let ship) there is a trend in fandoms where there is a canonical straight couple where the male gets paired up with another hot popular male and they get all the attention while they do a "pair the spair" thing with the female of the pair who gets shipped with another less relevant female character but they curiously get little to no attention and stay in the background with none of the exploration or development that the male couple gets and only exist as dress settings (like either sassy slay queens or emotional support) for the male couple

i dont really know how to articulate this but its crazy just how many people dont even realize they dont care about female characters. all their faves are men. they never talk about girls without being led into it. and when you try to point this out to them they try to defend themselves that their faves are just the archetypes they like, despite clearly not caring when that same archetype is a woman. like i feel like at a certain point it is your problem with the common denominator if you cant find a single female character to enjoy

[doctahchang]

would like to know the lore of my own oc that i have had for like ten years

edit: found an old sketch of her... i basically drew her for the first time eons ago and haven't changed her design ever since (sad that i won't be able to find those drawing again)

[starlingskulls]

also one of the cats i work with really fucked my shit up last shift and i feel very upset about it One because uhmm. rude. but also because ohhh that's deeper than i've ever gone and it didn't hurt that bad .. very interesting information

[carpe-mamilia]

Sorry @buttonhouseparty, I thought all your tags perfectly encapsulated what I thought when I first saw this post so I'm putting them here:

#hasn't it always been like this though? I feel like we've had this conversation ever since the beginning #obv I love the captain. but the fandom has always emphasised him heavily over other characters #even ben said that it surprised him how much the story resonated with fans #(alison is literally the main character and she gets less attention) #and since the start there's been the critique that the fandom never talks about anyone else #with the response always: well. you talk about other characters then. you create the content you want to see. #however the reasonable answer to that is #why bother to do that when you know other fans won't be interested + won't engage with it #I've always felt like: I absolutely hear that critique and I do understand the captain bias is annoying + potentially problematic #but people do fandom for fun and they're just going to focus on their fave #it puts me in the odd position of feeling like I'm 'contributing to the problem' whenever I reblog #and it makes me feel vaguely guilty for not enjoying the show in the right way

[...] #also I'm here as a comedy fan so I'm not very interested in doing deep dives on the characters' trauma #I like a bit of angst but I also like a compilation video of captain noises #I mean I'll reblog cap ship fanart #I love to see it and I like doing my part in sharing around other people's creative work #but I also adore a post discussing the idiots' writing and influences #but that's not what this fandom loves to do so I don't expect to see many posts like that

#AND I think many fans were deeply disappointed by the xmas finale and have wandered off to other things #the ppl who are still here are still enjoying shipping and sharing pics of ben looking hot #which is fine. that's a fun hobby! but I get that it's far from satisfactory for the whole ghosts community #anyway yeah. we've argued this one to death over the past five years and it just makes everyone fall out. I don't know what the answer is

controversial take but being a longtime ghosts fan over the past few months has just been watching the captain become increasingly more prevalent in tags and fan content to the point where almost no other character’s stories or personalities are explored and usually if they are, it’s in relation to the captain.

I’m gay, a lesbian, and the amount of fanbases I’ve seen fall to mostly straight women and become a whirlpool of one white, conventionally attractive gay man played by a straight man has been so disappointing. the captain is not the only character in ghosts. he is not the deepest or most tragic character in ghosts. it is a found family themed show. we, gay people, do not exist as tragic entertainment to be fetishised. the women in this show are rarely mentioned in comparison to the captain, Kitty had multiple scenes about her abusive sister, is implied to come from a horrific colonialist background and basically came out as asexual in season 5 and nobody talked about it, Mary died in a way that was so horrific they didn’t even show it on camera but havers had five minutes of screen time and he is everything now, apparently.

it’s to the point where you can’t escape it, no matter what tags related to the show you do or don’t follow. I’ve seen it before with the way the good omens fanbase changed from people who respected this incredible story criticising blind faith in religion with queer characters that inherently further that message into people calling them “uwu husbands” or whatever.

I’m not particularly angry, I’m just sad to see that the internet has turned into this again. I love the captain. I love ben, he’s a fantastic actor that I grew up admiring!!! but the captain is not the entire show and I think we need to think about why he takes up like. 85% of fan works.

[caparrucia]

Full offense and pun fully intended, but I genuinely think the very existence of "dead dove, do not eat" was a fucking canary in the mines, and no one really paid attention.

Because the tag itself was created as a response to a fandom-wide tendency to disregard warnings and assume tagging was exaggerated. And then the same fucking idiots reading those tags describing things they found upsetting or disturbing or just not to their taste would STILL click into the stories and give the writer's grief about it.

And as a response writers began using the tag to signal "no, really, I MEAN the tags!"

But like.

If you really think about it, that's a solution to a different problem. The solution to "I know you tagged your story appropriately but I chose to disregard the tags and warnings by reading it anyway, even though I knew it would upset me, so now I'm upset and making it your problem" is frankly a block, a ban and wide-spread blacklisting. But fandom as a whole is fucking awful at handling bad faith, insidious arguments that appeal to community inclusion and weaponize the fact most people participating in fandom want to share the space with others, as opposed to hurting people.

So instead of upfront ridiculing this kind of maladaptive attempt to foster one's own emotional self-regulation onto random strangers on the internet, fandom compromised and came up with a redundant tag in a good faith attempt to address an imaginary nuance.

There is no nuance to this.

A writer's job is to tag their work correctly. It's not to tag it exhaustively. It's not even to tag it extensively. A writer's sole obligation, as far as AO3 and arguably fandom spaces are concerned, is to make damn sure that the tags they put on their story actually match whatever is going on in that story.

That's it.

That's all.

"But what if I don't want to read X?" Well, you don't read fic that's tagged X.

"But what if I read something that wasn't tagged X?" Well, that's very unfortunate for you, but if it is genuinely that upsetting, you have a responsibility to yourself to only browse things explicitly tagged to not include X.

"But that's not a lot of fic!" Hi, you must be new here, yes, welcome to fandom. Most of our spaces are built explicitly as a reaction to There's Not Enough Of The Thing I Want, both in canon and fandom.

"But there are things on the internet that I don't like!" Yeah, and they are also out there, offline. And, here's the thing, things existing even though we personally dislike or even hate or even flat out find offensive/gross/immoral/unspeakable existing is the price we pay to secure our right to exist as individuals and creators, regardless of who finds US personally unpleasant, hateful or flat out offensive/gross/immoral/unspeakable.

"But what about [illegal thing]?!" So the thing itself is illegal, because the thing itself has been deemed harmful. But your goddamn cop-poisoned authoritarian little heart needs to learn that sometimes things are illegal that aren't harmful, and defaulting to "but illegal!" is a surefire way to end up on the wrong side of the fascism pop quiz. You're not a figure of authority and the more you demand to control and exercise authority by command, rather than leadership, the less impressive you seem. You know how you make actual, genuine change in a community? You center harm and argue in good faith to find accommodations and spread awareness of real, actual problems.

But let's play your game. Let's pretend we're all brainwashed cop-abiding little cogs that do not own a single working brain cell to exercise critical thinking with. 99% of the time, when you cry about any given thing "being illegal!!!" you're correct only so far as the THING itself being illegal. The act or object is illegal. Depiction of it is not. You know why, dipshit? Because if depiction of the thing were illegal, you wouldn't be able to talk about it. You wouldn't be able to educate about it. You wouldn't be able to reexamine and discuss and understand the thing, how and why and where it happens and how to prevent it. And yeah, depiction being legal opens the door for people to make depictions that are in bad taste or probably not appropriate. Sure. But that's the price we pay, creating tools to demystify some of the most horrific things in the world and support the people who've survived them. The net good of those tools existing outweighs the harm of people misusing them.

"You're defending the indefensible!" No, you're clumsily stumbling into a conversation that's been going on for centuries, with your elementary school understanding of morality and your bone-deep police state rot filtering your perception of reality, and insisting you figured it out and everyone else at the table is an idiot for not agreeing with you. Shut the fuck up, sit the fuck down and read a goddamn book.

[thankskenpenders]

Thoughts on two specific areas of the writing in Sonic X Shadow Generations

The best new 3D Sonic game in over a decade (or even two, depending on who you ask) dropped late last year. And I didn't write anything about it! Sometimes life happens. Well, I've finally sat down to finish Shadow Generations, and by now everyone has already been singing its praises for three months. This is the rare instance where the entire Sonic fandom, and even mainstream reviewers, are in agreement on something. The level design is the best it's been in a long, long time and the cool factor is off the charts, embracing Sonic's peak cringe era in an incredibly confident way. It's great. If you're even reading this post, you probably don't need me to tell you that. So I won't!

No, what I'm really interested in here is the writing. Because this is me we're talking about. But I actually don't want to talk about the main narrative of Shadow Generations, which is really solid little story about Black Doom trying to mold Shadow into his perfect soldier. No, I'd like to zero in on two other aspects of the writing here: the revisions made to Sonic Generations, and Gerald Robotnik's unlockable journal.

The updated Sonic Generations script

The new package mostly presents Sonic Generations how you remember it. There are some tweaks, but it's not a major overhaul. Graphically, I don't think the game has been touched much, if at all. I certainly can't notice any difference without a side-by-side comparison, despite playing it on a PS5. The most notable update is that the game's script has been rewritten by Ian Flynn.

Naturally, this caught my attention. Generations always had a nothingburger story, so with Ian rewriting Pontac and Graff's lame dialogue there was nowhere to go but up. (I don't like to pin the blame for those games' stories entirely on them, as a ton of it was dictated to them by Sonic Team, but, well, I don't think they're very good dialogue writers.) But it's less a complete rewrite and more like Ian was brought on as a script doctor for some minor touch ups here and there. Many lines of dialogue are completely identical to how they were originally written in 2011, and many others only have slight wording changes. Ian was clearly not allowed to request additional scenes or extend the ones that already existed. He has to match the original beat for beat so that they can reuse 99% of the cutscene animations. Don't expect it to be a whole new experience compared to the original.

Still, I think the new script is an improvement, albeit a minor one. Various things have been tweaked to maintain characterization consistency. Cream calls Sonic "Mr. Sonic" instead of just "Sonic." Instead of calling Sonic "buddy," Rouge uses the pet name "Blue," like she tends to do in things like the IDW comics. Espio doesn't have to remind you in the dialogue that he's a ninja, and he no longer has a line making it sound like he has some kind of soul reading power. I also like that Modern Sonic now actually has responses to what his friends say when he rescues them, rather than being silent like Classic Sonic. They won't blow you away, but they make Sonic feel a little more engaged with everything.

In general, the altered dialogue just seems tighter to me, and some of the more childish or trite wording of Pontac and Graff's script has been altered. Here, let's actually make a direct comparison, just because this stuff is interesting to me as a writer. Here's a couple lines from after the Egg Dragoon fight late in the game, in the original script:

Modern Eggman: Ooooh... I can't believe this! I was supposed to beat you this time. Modern Sonic: Aw, I'm sorry! I didn't get that memo. I beat you every time! [Turns to Classic Sonic] No, seriously, we beat this guy every time. It's like it's our job or something!

This is a simple exchange. Eggman is mad that he lost. Sonic is unflappably confident because he always beats Eggman, and he explains this to his younger self. But the wording here isn't particularly good. Eggman's simple and direct wording makes him come off like a little kid who's mad because his older brother beat him at Mario Kart, rather than a mad scientist who just had his plans foiled. It's making light of the situation.

And I've never liked Sonic saying "It's like it's our job or something!" That doesn't feel like a thing Sonic would say, it feels like a thing an outside observer would say about Sonic. This is a frequent problem with so-called "MCU dialogue," where quips meant to echo the commentary of a casual, somewhat disinterested audience are inserted into the story itself so that the writers can be like "See? We get it. We're genre-savvy, too!" It also just reminds me of bad Sonic Boom: Rise of Lyric lines like "Rings! It's like they're made for me!"

And then here's Ian's rewrite:

Modern Eggman: I recalibrated everything! This was supposed to be my time! Modern Sonic: Oh, please, keep dreamin', Egg-head. I beat you every time. [Turns to Classic Sonic] No, seriously, we beat him every time. Our score card's flawless.

Eggman's still mad about his defeat, but the line "I recalibrated everything!" makes it more specific. He put all this work into the engineering side of his latest scheme and got tunnel vision, thinking if he got his creations just right there'd be no way he could lose. "This was supposed to be my time!" also turns it into a time travel pun, which is a bonus. He's still pitching a fit over losing, but it feels more like Eggman pitching a fit, rather than sounding childish.

And then instead of saying that beating Eggman is "like his job or something," Sonic says he's got a flawless score card against Eggman. He doesn't take Eggman seriously as a threat—at least, not to his face. He acts like it's all a game. But he conveys this in a way that feels truer to the character, rather than feeling like the words of a real world observer poking fun at the tropes of the Sonic series.

Is this amazing, A+ dialogue that blows me away? No. Again, it's not a completely different scene from the one we already had. Ian had to fit the beats of what was already there. He couldn't go all out and write an all new story confirming his longstanding headcanon that the Time Eater is a remnant of Solaris or whatever. But the wording here makes the existing story land a little better and feel truer to the characters in subtle ways.

But to me, the main change is that the Sonics and Tailses seem to have a more solid understanding of what's going on with the timeline and the Time Eater, compared to how idiotic they sometimes seemed in the original game. Which is good! No more standing outside Green Hill and wondering why it seems so familiar. Thank god. As part of this, yes, there are a few more references to past games in the dialogue, like Sonic briefly being confused about the fact that they're time traveling without the Time Stones, or South Island and Westside Island being acknowledged as the normal locations of Green Hill and Chemical Plant. Yes, ha ha, insert joke about how Ian loves references here. Look, it's Sonic fucking Generations. It's a game built entirely out of nostalgic references. Just own it! And, again, in this instance Sonic and Tails come off as less stupid when they make it clear that they do, in fact, remember their adventures from presumably less than a year ago in-universe.

Eggman, too, seems to have a better understanding of the powers he's toying with. Where in the original vesion his focus was simply on going back in time to undo his previous defeats and he seemed kind of oblivious to how much the Time Eater was actually fucking up the universe, here Eggman says he wants to use the Time Eater to give himself complete control over the entire timeline. Eggman also makes way fewer references to his own failures and shortcomings. Of course he won't admit that Sonic has defeated him time and time again. To him, he's never truly lost—Sonic just keeps delaying the inevitable total victory for the Eggman Empire.

So, yes. The new Sonic Generations script is better. It won't blow anyone away, but it's better than it was. It's been elevated from "kinda lame" to "fine." No, if you really wanna see Ian flex his ability to breathe new life into old Sonic stories, look no further than...

Gerald Robotnik's Journal

Hoo boy.

The story of what happened aboard the ARK has always been... a bit confusing, to say the least. Fans with encyclopedic knowledge of the script for every route of Shadow '05 may disagree, but it's the truth. We've had all the pieces to understand the story for a long time now, but that info was given to us out of order by a pair of unreliable narrators—Gerald, who became a vengeful lunatic shortly before his death, and Shadow, who was subjected to multiple rounds of amnesia and altered memories. Some of the ambiguity left by Sonic Adventure 2 was cleared up in Shadow '05, but that game also retconned in a bunch of new elements to Shadow's backstory (aliens!) that lead to further confusion. Not to mention the fact that that game had multiple routes and only revealed the truth about Shadow if you sat on the ultimate final boss battle for WAY longer than the fight would normally last. Or the fact that Sonic X made its own tweaks in its telling of the story. Or the fact that none of these things ever had the best English translations. I can't blame anyone who hasn't played those games in two decades for not remembering the truth about these characters and getting some details mixed up.

What we needed was something to piece together all of the info we have into one coherent backstory, told in chronological order. And thanks to Shadow Generations, we have that, in the form of an official journal tying together what we knew from Sonic Adventure 2, Shadow '05, and Sonic Battle into the tragic tale of Gerald's rise and fall.

Ian Flynn was the perfect man for the job here as the guy who started his career by tidying up the mess that was the first 159 issues if Archie Sonic. This is what he excels at: taking disparate bits of weird Sonic lore from multiple different sources, boiling them down to their most interesting elements, and connecting it together in a way that will make the audience see the dramatic potential he's always known was there. Rather than feeling like a cynical exercise in franchise building, going back and explaining things that never needed explaining so that people can add more bullet points to the wiki, he puts a new spin on things that retroactively enriches those past stories. The story here means something to the characters involved and gives us a better understanding of them as people, rather than as plot devices to motivate Shadow.

(And, of course, Ian didn't do this journal alone. He wrote the story, but I also have to give a huge shout out to Evan Stanley, who made the final product. All of her handwritten journal entries, sketches, and "photos" included throughout. The physical damage done to the journal over the course of 50 tumultuous years, passing from Gerald to Eggman to a certain special someone at GUN. The way Gerald's handwriting gets less and less legible as his mental state declines. So much love was put into what could have been a mere text dump in a menu, and it really elevates it to the next level. Congrats on officially getting hired by Sega, Evan, you've sure as hell earned it!)

The main idea the journal conveys is that Gerald was under a lot of pressure from a lot of different parties—GUN, the President, his colleagues aboard the ARK, Black Doom, even his own family—and boy did it get to him. The known incidents aboard the ARK mentioned in previous games are put together here to form a story where everything slowly spirals out of control as Gerald keeps compromising his morals to further his research, thinking he'll eventually find some way out of all this because he's a genius. I won't recap that whole story here (if you haven't already played the game and read the journal entries, I would highly recommend at least reading it on the Sonic wiki), but I'd like to highlight my favorite elements of the story, as Ian tells it here.

1) The Eclipse Cannon

Here's something that never quite made sense in Sonic Adventure 2: why does the ARK have a laser that can blow up the Earth built into it? It was supposed to be a peaceful research colony. Sure, Gerald went crazy and swore revenge on the Earth, but, like... when did he have an opportunity to go back up to the ARK and modify it? Did he have someone else do it? How? The ARK was raided by GUN and shut down! And then they arrested him, held him in prison for an unclear period of time, and executed him by firing squad when he was no longer useful! It doesn't add up. Shadow 'the Hedgehog '05 would give its own answer by introducing the Black Arms and saying that the Eclipse Cannon was always supposed to be a secret trump card against the Black Comet. But, like... we know that's kind of a bullshit answer, right? You don't need enough power to blow up a whole planet just to destroy a comet.

Well, the new journal retains what we already knew, but it paints a much more complete picture.

See, long before Gerald ever made a Faustian bargain with Black Doom, he had already made one with an even greater evil: the military. GUN gave Gerald much of the funding for the ARK, Gerald's personal utopian research station in space, but it didn't take long for GUN to start pressuring him to design them weapons. Gerald tried to get GUN off his back by personally contacting the President of the United Federation, and the President gave him an alternative: how about, instead, you just use your genius brain to figure out the secret to immortality for us, so our soldiers can be immortal? Gerald was initially sickened by the notion and found it completely absurd, like chasing a shadow... but given no other option, the sarcastically named Project Shadow soon began in earnest. (Maria would later put a more positive spin on the name after Shadow's awakening, pointing out that a Shadow can show us the direction of the light, like she says in the game itself.)

Of course, this search for the ultimate life form didn't go very well, and without any results on that front GUN kept hounding him for weapons. Gerald would throw them a bone here and there to get them off his back. His research on Chaos resulted in the Artifical Chaos prototypes, which he worried would be used for warfare but could at least theoretically be used for search and rescue missions in floods, in his mind. But that wasn't enough. So he gave them Chaos Drives to power their mechs. And that still wasn't enough. He's got Emerl. He'll give them Emerl. They're not impressed by Emerl. They'll shut the whole ARK down if Gerald doesn't give them something big.

Fine! GUN wants something big? Gerald builds a huge fucking laser cannon into the ARK. However, as a middle finger to GUN, Gerald makes it so powerful that it would destroy the Earth if it was ever fired at any target on its surface. In other words, GUN now has their ultimate weapon of mass destruction, fulfilling his contract, but they can never actually use it. Oh, the delicious irony. (And also Shadow will blow up the Black Comet with it in 50 years yada yada yada.) Is this perhaps extremely shortsighted and naive of Gerald, to believe that such a weapon would never actually be used just because of the risk? Of course. But hey, that's Gerald for you. And I love this as an answer.

(Also, this, uh, kinda echoes something from real life! Remember the bit in Oppenheimer where he says all nuclear war will become unthinkable, and Edward Teller responds "until somebody builds a bigger bomb"? Yeah, Teller went on to conceptualize a superweapon codenamed Project Sundial that would have been able to kill all life on the planet, as the ultimate deterrent for war. This was never made for obvious reasons, but hey, there's a basis for this sort of thinking outside of heightened sci-fi! There's a whole Kurzgesagt video about this if you're interested.)

2) The Biolizard

The Biolizard is, of course, brought up as the initial failed prototype of the ultimate life form, from before Gerald met Black Doom. We don't really learn all that much about it that we didn't already know, but I just love the way it's framed in the story.

As you can see above, we actually get to see a picture of Maria holding up the cute little salamander that would end up mutating into the Biolizard through Gerald's experiments. (Researchers want to figure out how to replicate salamanders' regenerative abilities for humans in real life, too, so this was a natural starting point for the project.) And then, after it grows to a monstrous size and goes out of control, Gerald has to lock it away in an unused sector of the ARK. He needs to keep the poor thing alive for his research into harnessing Chaos Energy, building life support systems directly into it, but he doesn't have the heart to tell Maria what happened. So it just becomes this first dark secret weighing on his conscience. The Biolizard becomes Gerald's Tell-Tale Heart beating beneath the floorboards of the ARK. I love that.

3) Lost Impact was the breaking point for the ARK

Remember the level Lost Impact in Shadow '05? The flashback level on the hero path where Shadow is running around fighting Artificial Chaos enemies on the ARK 50 years ago? Yeah, that wasn't just a random incident. That was important, as we now know due to its placement on the timeline.

See, Emerl's rampage aboard the ARK that was chronicled in Sonic Battle and Dark Beginnings set off a domino effect. Emerl riled up the Artificial Chaos, causing Gerald to lose control of them. They became violent, and so Shadow had to stop them, as depicted in Lost Impact. The thing is, that incident sent an SOS signal to GUN telling them that shit was going down on the ARK. Gerald didsn't fully understand the trouble he was in and assumed that he'd simply be reprimanded by the higher ups, or maybe face legal action. But, well... the next time he heard from GUN, armed troopers were raiding the ARK.

So Lost Impact was the straw that broke the camel's back. I just really like that detail.

4) Maria

And, of course, there's Maria herself. Maria has often been more of a symbol than a character, this perfect embodiment of everything that's good and pure in this world who gets killed to motivate Shadow and Gerald's revenge plots. But I really like the wrinkles this journal adds to her and Gerald's story, and their relationship. This is the most fleshed out they've ever felt.

For one, the journal leans into the idea of Maria's intellectual potential. The rest of the Robotnik family is all geniuses, after all, and she was proving to be a really bright kid. She excelled in her studies on the ARK, and she even helped design Shadow's jet skates and inhibitor rings. When Maria died, the world didn't just lose a symbolic personification of purity. She genuinely could have been a hugely influential scientist who did so much good for the world. That's what Gerald wanted for her. But we'll never know, because GUN killed her.

Speaking of her family, their presence isn't just mentioned for the sake of fleshing out the Robotnik family tree. It's mentioned that as Gerald struggled to find a cure for Maria's illness through his genetic research, he faced mounting pressure from his family. They didn't want Maria to be up on the ARK forever. They wanted Gerald to hurry up and find a damn cure, or otherwise just send her back home to Earth so she could be with her family again. She'd been up on the ARK for so long that Gerald's coworkers started thinking that she had been born up there. Eventually she gains a baby sister on Earth who she's never met. A rift forms between Gerald's two sons, and he's unable to really deal with it because he's so consumed by his work. There's this sense that the family is falling apart, and that everyone is dreading the possibility that Gerald will never find a cure and that Maria will just spend her final years up in space and die far away from her family, because Gerald just couldn't let go. If that happens, it'll break the whole family. But he can't stop now. So he just keeps working. Curing Maria is the only way to win his family back, in his eyes. It can't all be for nothing.

But my favorite detail regarding Maria is this one paragraph:

Maria is growing into a lovely young woman. It breaks my heart that someone as bright and energetic as her is diminished by disease. There are no visible effects, and I've caught my fellow researchers muttering to each other, doubting her illness. It is infuriating. I find all my reason and restraint vanishes when she's slighted.

This is SUCH a great addition to the story! It's always been true that Maria doesn't really seem all that ill, just looking at her in cutscenes. With this one little comment, Ian flips that issue on its head and turns it into a story about invisible disability. She doesn't act like she's in chronic pain, so she must not be, everyone thinks. And this really, really gets to Gerald, as does the pressure from his family. He's dedicating his whole LIFE to saving her, and they think she's faking it?! It's such a small addition, never referenced elsewhere in the journal, but it adds so much flavor to the story, as does the implied family drama. It grounds Gerald and Maria and makes them feel more like real human beings, rather than being pure archetypes. It's just enough info to let my imagination run wild filling in the blanks.

You also get the feeling that Maria being such a walking ray of sunshine was the only real source of joy Gerald had left in his life before Shadow was awakened, and the only thing keeping him from snapping under pressure sooner. All this stuff just keeps piling on, everything's spiraling out of control, but at least Maria is keeping her chin up, right? It makes so much sense that losing her would make him go off the deep end when it's framed like this.

It's just... man, I never thought I'd care so much about Gerald and Maria. But that's the Ian Flynn touch. After years of less than stellar Sonic writing that seemed to be embarrassed of itself, I'm so happy to have new games coming out that fully embrace the history of the series like this, making its world feel so rich and real instead of just serving as an excuse for a string of platforming levels. I don't even like Shadow '05, but I'll be damned if Ian and the rest of Sonic Team didn't make something amazing by "yes, and"-ing Shadow's cringe past here. Sonic has truly reached levels of "we're so back" never thought possible.

[door-insurance]

Ahm, hello Life is Strange fandom- I got an announcement

I have been working on my own LiS fan visual novel

This is VortexVN,

You play as Victoria waking up from a hangover with no memory of the week prior, you are tasked with piecing together what happened between her and one of the 4 love interests.

And of course the love interests are:

-Chloe (Chaseprice)

-Max (Chasefield)

-Kate (Chasemarsh)

-Rachel (Amberchase)

The game starts with a quiz; you unlock a route by picking answers related to the character you wanna romance (they are very obvious)

It takes place in an AU where the events of LiS1 and BtS didn't really happen and there are no special powers, Victoria's still a bi tch- I guess that's her special powers.

Think of this game as a spiritual successor to Love is Strange by Team Rumblebee rather than Life is Strange 1

Gameplay so far is your typical point and click visual novel affair, you will be given options to explore rooms, examine objects and talk to other characters- the interactions will play a crucial part in how the game ends,

You can win the girl or get rejected or worse... It will depend on how Victoria carried herself throughout the game,

Mistreating certain characters may prove to be a dealbreaker for the love interest,

Each girl has two close friends in the dorm that you should not upset (I'll reveal who in the guide pdf)

This game is also perfect for Victoria haters as you can ruin her life

The game has its own journal system that will be different depending on who you're romancing, it also comes with a read button (I blurred most of the text so you can get curious and play the game)

Read button will display the journal content in Open Dyslexic font

In the demo you'll only get to explore Victoria's room and the dorm hallways and you'll get two encounters from Juliet (Showers) and Alyssa (Hallway)

VortexVN is still in development, I have finished part.1 of the project and will start polishing it soon- the initial build of part.1 will be available to play as a demo!

The cutscenes lack color and proper shading at the moment and you will find placeholders as well, the art style is all over the place- this will change after the polishing phase

Download links:

Mac and Windows

Web browser ver (I don't recommend that you play it on mobile, also the web version lacks animation and takes forever to load graphics)

programs used:

-Renpy (visual novel engine)

-Photoshop CS5 (Drawing/rendering/animating/designing)

-Clips studio (Texturing)

-tablet: XP-Pen Artist 13

Note: I'm not monetizing this project nor do I claim ownership of the Life is Strange ip, all materials and assets presented in this visual novel were either created by me or are royalty free- I did not lift anything from the games via data mining or by leaks

This game is not a response to or a gotcha at Life is Strange Double Exposure or Deck Nine, I didn't really dislike the game

Besides, I've had the idea of a Victoria centric fan game since the first LiS back in 2015

I'm open for feedbacks! You can DM me or reblog this with a review or something- maybe write a comment.

[adickaboutspoons]

Mostly I was responding to the points raised in @scarrletmoon's response, but you raise some excellent points to which I'd like to respond. Feel free to ignore if you're tired of my bullshit. I completely understand the impulse. 1st, you're absolutely right; I was coming across as gate-keepery by saying that I find Stede's eccentricities charming as though that ought be the default experience. For that I apologize. I ought to have taken more care. When I said "And that's valid, but I would say that those are the parts that the crew and Ed grow to love once they embrace those parts of him instead of cringing at them" what I meant to convey is that the experience of 2nd-hand embarrassment when Stede does something that recalls to the viewer times when they have felt ashamed/were made to feel shame because of something they did is absolutely understandable, but we can take heart in Stede being accepted & loved for those parts of him, & find hope that so too may we be embraced for our own quirks & foibles. My intention was to encourage others to be more gentle with & accepting of their own perceived failings, but I can see now that I failed to adequately express that, & for that I am sorry. I do take issue with the suggestion that I am strawmanning, though; I would argue that how one views Stede's motivation & framing absolutely informs the extent to which/moments in which one finds his behavior cringe-worthy. In your original post, you contend Stede is "pretending to be this macho pirate captain who totally knows what he's doing" & your response above adds he's a bad manager & a jerk because he's praising himself & chiding his employees, whom you interpret as him treating as stand-ins for his own children. If that's how you're framing the scenario, then, sure - I can see how his behavior comes across as cringe to you. But that's not at all how I perceived it. I will grant he is pretending more expertise than he actually possesses, but he IS a pirate captain, & as to the attribution of "macho" I absolutely disagree, specifically because he is textually interested in a form of piracy that is not that. Because that is my understanding of the scene, in the debrief scene I see a person excited at the success of what, if Black Pete is to be believed, is their very 1st raid, & doesn't understand why everyone else wasn't also chuffed. He then listens to Wee John' criticism & encourages him to clarify WHY he feels the way he does. When Wee John identifies the lack of a flag as a contributing factor to his disgruntlement, Stede provides materials so they can rectify the deficit. This isn't Stede forcing arts & crafts on these grown-ass men (& Jim) - it's Stede hearing a problem & supplying the means to a solution. Similarly, he hears out Buttons about the crew's dissatisfaction, & tries to rectify it by finding a more appealing target for a raid, even though he obviously feels unequal to the task himself. To me, that's the complete opposite of a bad manager (to me he's a bad manager when he's being dismissive of the crew's input, like the fuckery brainstorming, & even then he climbs down from his high horse & apologizes. Which? GREAT manager!). Where you see Stede infantilizing his crew, I see them taking part in activities that, while generally relegated to childhood, aren't implicitly childish, & of their own volition, & Stede sowing the seeds that will eventually blossom into a found family (not imposing an established family structure). For clarity, I'm not saying my interpretation is objectively right, nor that yours is wrong. I'm just saying framing is going to influence perception of whether Stede's behavior is Cringe, & that's kind of what I was getting at with my myriad examples of Stede behaving "authentically" or "inauthentically" & when that is a viable predictor of a general fandom perception of when Stede is being Cringe. Because I really don't think it is. This is going to continue in the notes because tumlr thinks they can cut my mic.

listen I love stede a lot - I think he's the bravest character in the show. he changes everyone he meets for the better. he embodies what I think of as the thesis of the show. if he wasn't the way that he is, the show would not be very good, imo.

but in ep one he gives his pirate crew notes on the raid they just did as though they were a community theater troupe and his notes were 1) complimenting his own opening speech as "very inspiring" and 2) complaining that that the crew wasn't sufficiently enthusiastic about robbing two poor fisherman of a single plant.

during the raid his narration went "some men are born to be pirate captains, others learn on the job. me? well I'm a pretty solid mix of both" as though he has any idea what he's doing.

and AFTER the raid Olu has to gently point out to him that piracy isn't a game to the rest of the crew.

There's a reason that Rhys Darby was the only person capable of playing Stede without making him seem like a total dick. And I think that's bc Rhys was able to convey the idea that Stede's behavior in the first few eps is coming out of this deep sense of insecurity - he's doing some Stede-y things (flag making! paying the crew! bedtime stories!) that are great but he's also pretending to be this macho pirate captain who totally knows what he's doing. And it's the pretending that makes people cringe with second hand embarrassment. While also, often, seeing themselves in it and feeling a great deal of sympathy for Stede about it.

The reason Stede is like this is because HE thinks there's something deeply wrong with him, a belief that has been solidified by everyone around him his entire life, and therefore he needs to do everything he can to hide that deeply wrong thing about him. When he unpacks that and embraces the things about himself he originally thought were embarrassing (being weak, pathetic, soft, etc), he can stop pretending. And that's when other characters grow to love him! And so people will sometimes call him cringe because they aspire to be cringe like him, to embrace the parts of themselves that they were punished for and live more authentically.

because he changes! that's the point! he moves from cringe (pretending to be someone he's not) to cringe (being true to himself, always a deeply vulnerable thing to be) and it takes a lot of hard work. that's what makes me LIKE him as a character. that's what I think makes him the bravest character on the show. because he doesn't start out perfect. he's a puppet who grows into a real boy and that means that for a period of time he was a puppet, and that's okay.