#i love being critical and listening to videos on subjects like this but also

[flowermist7432]

Some Nightly Thoughts

While its important and interesting to look over tropes and media with repeating patterns and engage in the commentary of overuse of a medium, I ALSO think constantly examining everything around me with such a critical eye is having me no longer see the cake but instead the eggs flour sugar milk everywhere I turn to eat something.

[genericpuff]

From the standpoint of someone who doesn't even like LO that much. Reading through this gave me a strange sense of discomfort? I think. Something about the combination of the essays, and the digs at the author in a lot of posts, and making a community based on it, and the ranting. It made it feel a lot more group ragging on something than normal fandom re-writes. I can't help but want to say something on the subject (0/3)

Gonna respond to all your asks together if that's okay, from what I can glean there's a word limit on mobile (?) so it makes it very interesting to see who's able to put all their thoughts into one big ask vs. who has to cut them up into parts 😆

So I can understand that discomfort, it's actually one that I also initially felt towards the community when I discovered it. Though even more so because when I found out about antiLO being a thing, I was still a MASSIVE fan of LO and my thought was "wow, these people are losers" LOL but then a lot of what they were saying resonated with me more as I realized the story was going nowhere (it was around the trial arc when Eris was revealed to be the 'reason' for Persephone's wrath).

All that said, I don't think I was wrong to feel off back then even though I don't feel that way now. We have our own takes and ways of approaching certain subjects, and how we feel is how we feel.

I will say that I can't, in any way, take credit for 'creating' the community. AntiLO pre-existed me by years and I was simply welcomed in as my opinions of the comic changed. I was a lot more involved in UnpopularLoreOlympus when it was born around the S2 finale of the comic. So... don't give me any sort of credit in 'owning' this community or anything of that sort, I came in during a period when criticism of the comic was becoming more common practice. I'm just also someone who's very verbose and loud in their opinions which appeals to a lot of people in this community, so I get why people might see me as some kind of "pillar" within it or like I'm the loudest person in the room, but I promise you that doesn't mean I have any sort of ownership over this part of the fandom or that I feel my opinions carry any more weight than the people around me. It's just a community, after all, not a religion.

It's true that saying I'm not making money off Rekindled doesn't mean I'm not benefiting off it in other ways. But the 'benefits' are still kinda... nothing? in the grand scheme of things? like okay great I have loads of people reading my stuff every update but like, this is still just Tumblr lmao none of this is real and as soon as Rekindled is over, I might be lucky to bring some of the readers over into my next project, but I doubt whatever I do next will get as popular as Rekindled was. All the "benefits" I get are virtually the same as what people writing fanfiction get on AO3 get or what people doing redraw videos on Youtube get. It's fake Internet points for making fan creations.

And that's okay, because that's sorta just the nature of fandom in general, throughout any niche community. People will be naturally drawn to what's familiar and what I do here appeals to the people who are familiar with LO and the criticisms of it, often people who agree with those criticisms. The Zelda community has LinkedUniverse, Pokemon has Hanamusa, Attack on Titan has communities that are dedicated to loving the anime, hating the anime, and even dunking on people who don't 'get' the anime, Undertale has every single crazy rewrite and rewrites-of-rewrites that have been spawned from its fanbase. Did you know there's an entire community of people who discuss and argue over fire alarms? I didn't, but when I found out about it, it was after listening to a video on Youtube discussing all the interconnected drama of the fire alarm community. Like that's wild and seems so stupid and pointless... but it matters to the people who are in it, and my opinion of how they operate isn't going to change how it makes them feel to be a part of that space. That's kinda just human nature, we create our own little microcosms of things to bond over so for people within those microcosms, any amount of disagreement or discomfort will feel massive in proportion.

I guess the point of what I'm trying to say is that a lot of this stuff feels crazy loud but it's really only that loud because it's occupying a single room.

The reality is that Rekindled is still a very niche project dedicated to a niche webtoon that's a part of a niche medium. As loud as it is within here, it's still only because it's such a closed community. Anyone outside of the Webtoons community has zero clue what it is. The 'attention' that I'm getting is still from other niche people who occupy a very specific interest.

And that's not even exclusive to Rekindled, despite Webtoons attempts to sell LO as a 'worldwide phenomenon', a lot of people don't know it exists and couldn't care less. Does that mean my rantings about the comic and its creator matter any less to me or the people who are interested in them? Not really. Is it all pointless? Maybe, but not everything really needs to have some bigger point. We're all kinda just here spending time talking about something we both love and can't stand. What I say about LO and do with Rekindled is undoubtedly inconsequential and pointless to people who aren't in the room. That's fine. That's why I keep it all in my own house. There are definitely people who talk about it outside of the home but that's far from what I can control.

That said, I think LO also does fall into a very unique category where it's very easy to do rewrites and redraws of it simply because it, in and of itself, is a rewrite. Rekindled is far from being the first "fix it" fic, not only of LO but also of any piece of media in general, it's not really a new phenomenon (but again, when it's loud, it can be easy to go "well clearly YOU had to influence this"). People are drawn to retelling LO or 'fixing' it because LO is based on Greek myth. If it weren't for that, no, I don't think people would be as interested in doing so. It's because we literally have a solid foundation of reference material - the myths and original poems - that we can go "hey, why did LO do this? it should have / could have been xyz". You can't really do that as much with a purely original work besides wish fulfillment of "what if xyz happened" because whatever an original piece of work winds up being is clearly what it was meant to be. We have nothing to compare it against.

But with LO, we know what it could have been because we know what it was trying to be since day 1 - a retelling of the Abduction of Persephone. That's not to say we always knew exactly what Rachel was planning on doing with it, but it's not hard to be disappointed when we see certain mythical stories being established in LO - such as the tale of Eros and Psyche, the Titanomachy, etc. - only to see them get dropped or completely mishandled.

On the one hand I could use HADES and Stray Gods as examples of popular media that don't get 'rewritten' the same way LO does because while they have their own unique interpretations of the myths they're based on, they still feel like properly thought out stories that appreciate the source material. LO, by comparison, feels like it's written by someone who hates Greek myth.

But on the other hand, those rewrites may absolutely exist and I'm just not aware of them because I don't occupy those rooms! The world is only as big as we perceive it to be.

That said, it's always sort of ironic to me when people say Rekindled is "riding off the coattails of LO" because while I can understand their sentiment - because obviously it's a direct re-creation of LO - that opinion seems to operating from the assumption that LO was ever not riding off Greek myth's coattails to begin with.

And no, I don't think my criticizing of LO on an LO-focused blog should in any way be conflated with "media isn't allowed to be bad". I've said this before and I'll say it again, I'm into loads of bad media. I'm also fully capable of enjoying a piece of media but also shit-talking it without actually feeling any sort of vitriol towards it. House M.D. is one of my favorite TV shows but goddamn some of the plots are just so dramatic and out-of-this-world that you can't help but laugh at them (and that's why we have spaces like /r/okaybuddyvicodin LOL). One of my favorite games growing up was Starfox Adventures because I had never played the original Starfox games but I had played loads of Zelda and Adventures was basically Zelda but with Starfox, and I know there are plenty of people who will go "but puff, that game is ass!" and I know! But I love it regardless.

With LO, it's not a matter of "bad media shouldn't exist!" it's a matter of observing what makes it so bad and why that's had a negative impact on both the audience it attracts (primarily teenagers and children) as well as the culture it's taking its ideas from. If LO was just some "so bad its good" webtoon that was easy to enjoy but also poke fun at, I would have zero issue. It's the fact that it's blatantly problematic in its writing and intentions but still hailed as the #1 webtoon on the platform (webtoons in and of themselves being a medium that I've lived in for over a decade so it's virtually impossible to get away from whatever is influencing the culture as a whole) while winning all these accolades for being "brilliantly written" and its creator is given a voice over Greek culture when she herself is not Greek or even well-read on Greek culture in any capacity - that's the issue and why I've spent so much time talking about LO. And if it wasn't me, it would be anyone else, because the problem has been around for ages and people have been trying to get the word out about it for years.

I don't necessarily think every 'fix it fic' is built equally. I think it's a case by case thing. A lot of people are deadass just doing it for fun and to be a part of a community, and I think that's wonderful. There are also people who try to do this but ultimately disrespect whatever the creator was going for by somehow implying that their own original ideas were inferior just by existing, or using their fix-it fics as a way to deliberately harass the original creators (ex. whatever the fuck 'art lore' is on TikTok, based on what I've seen it seems purely made for bullying budding artists and talking shit which is... gross af, but I don't think it's anywhere near the same as readers of LO calling out its highly successful award-winning creator for having zero clue what she's doing with her comic lmao). I don't think a blanket statement of "fix it fics are bad" accomplishes anything because it depends on a variety of factors like the person's intentions and what they're trying to accomplish. Many fanfictions in general could be called 'fix it fics' even if the creator 100% loved the source material with zero issue - because they're still saying "what if xyz happened instead"?

Me, personally? I'm someone who loves Greek myth and who used to adore LO. I was very discouraged and upset when I saw it turned into what it became, and I wanted to try my own hand at creating something new out of the rubble that could give me closure. It's what I choose to do with my time and other people seem to enjoy it as well. I'm sure there's loads to criticize and speculate on regarding my 'intentions' in creating it, but at the end of the day I'm sorta just doing what I want to do with my time because I have a lot of thoughts and ideas I need to get out of my head and many of them are thoughts and ideas that other people like reading about.

If you feel uncomfortable by the amount I talk about it here and the way I talk about it, that's fine. Those are your feelings. There are loads of other antiLO-themed blogs to read that might not give you that same vibe. Even I have certain icks towards certain opinions within the antiLO community, I've seen some people be genuinely shitty and I'm sure that's ironic to hear considering you're describing your own discomfort towards my stuff, but we all have different tolerances towards different things at the end of the day.

I do my part to keep things in my own house of a neighborhood that's really small in the grand scheme of things. It just feels like a big neighborhood if you don't travel. There will inevitably come a day where I'll pack my boxes and move elsewhere, talk about new things and write essays about other topics. That's obviously not today but I definitely don't want this to just be like, my entire identity or the rest of my life LOL it's just something I've chosen to spend my free time doing and I'm content with that. Maybe a year from now I'll feel differently, who knows? At the very least I'm hoping to one day finish Rekindled because no, I don't want this to actually be my identity for the rest of my life, change is a good thing LOL but what that change will bring is, for now, a mystery. Here's hoping wherever I end up at least brings its own uniquely good times like I've had here :' )

Sorry, that was a very long response with a lot of sorta aimless muddling over the topic at hand, but thank you for the opportunity to discuss it regardless ! because I do think it's important to find that 'grounding point' when it comes to stuff like this. because as much as I get riled up over LO, yeah, at the end of the day, it's just a dumb webtoon and I don't wanna go soiling myself over it LOL but I'm also just like... running a Tumblr blog with my personal thoughts and ideas, no more or no less. Even the "attention" I get is still only 200-400 notes per new episode of Rekindled, which pales in comparison to any real metrics of "success" imo LMAO again, it just feels loud because this is a niche community made up of a lot of the same names and faces; step outside of it and no one gives a shit LOL

[tiredlilguy]

The Flags HC's

(that nobody asked for... but i love them and I have no where to put these) note: these are just general hc's :P if you want me to make other ones lmk!

Pianoman: - his ass cannot play piano, when people asks if he can because of his name, he changes the subject because he feels embarrassed - is the oldest sibling in his family - since he's a perfectionist, he's also kind of his own worst critic (can be in a really shitty mood if he's alone with his thoughts for too long) - his hair is a result of vitiligo - is an anxious person, but somehow his anxiety goes away when he's with The Flags - whenever he handles something physically using his hands, he's very cautious and tends to treat whatever is in his hands gingerly (like if he's given a gift, he will gently hold it in his hands instead of just taking it like normal) - has naturally shaky hands (i want to give him a big hug and kiss :( ) - going along with his hands, they're very thin, so his gloves are thick enough to where you don't really know what they look like underneath - has a really shitty sense of humor and will laugh at that one meme video with the bread falling on it's side - has defined canines and it shows if he opens his mouth or smiles

Lippman: - gets to know all of the celebrity drama before it gets out in the media: sometimes he uses it for blackmail or just tells the others and they all become a little gossip group (it's mostly just him, iceman, and chuuya though...) - he can make really good tea, like knows every little detail that comes with making tea: not leaving out a single step so you can get the best flavor out of the tea - polyglot, he once had to learn english for a role that he had and then proceeded to teach himself any language he thought was cool (sometimes mumbles in a different language under his breathe to mess with chuuya) - flirts with Pianoman a lot, says it's for fun, but he might have a little crush - wears that really dramatic silk robe with feathers and drags on the floor, it's either white or baby blue - paints his nails and will paints Chuuya's nails sometimes to practice, Chuuya says he's only doing it because he's his superior, but secretly enjoys it - unintentionally fixes The Flags outfits or hair, mostly Chuuya: like he'll adjust Iceman's collar if it's standing up, or he'll comb Chuuya's hair back into a nicer ponytail if it gets messy throughout the day

Iceman: - has a niece, and is the BEST uncle to her, likes to spoil her and will literally do anything for her (i read this from a fic and i can't stop thinking about it) - loves hearing gossip despite not talking that much - insomniac, spends most of his nights listening to his records with whiskey unless he has a job to do - plays his records really loud, but his listening room is sound proof so he can hear every little detail in the music - likes records, but he actually prefers live bands instead, thinks records are classy - gifts Chuuya records if he notices that Chuuya is singing a song to himself, usually tries to find the song and gets Chuuya that record of the album - is slowly becoming deaf, the only person that knows is Pianoman and Lippman, and he's slowly teaching The Flags sign language when they're on missions with him (he'll say it's because he wants to be quiet) (he won't admit it, but he will miss not being able to hear the others banter in the background anymore) - doesn't actually care about his ego/reputation at all, he's pretty confident in his assassinations, but if he fails a job, he'll just sigh and smoke a cigarette and move on - does not style his hair, he wakes up in the morning and moves it around a little bit and that's his hair for the day - he can't see out of his right eye that has the scar, but when he feels invoked with an emotion, he'll open that eye - notices small details... like extremely small details: one's that you won't even be thinking about; probably remembers what people like when they mention they like it once, knows when someone gets a haircut or they change colognes

Doc: - silly guy (canon) - he judges people's fashion taste despite not wearing any sort of outfit himself: likes to give pointers to Lippman about how to style his shirt or will judge Chuuya's strange outfits; will put on a good outfit if he's feeling like it - is very good at video games, but he doesn't really play them in his free time, but once Chuuya offered to play a video game with him and Doc beat his ass (Chuuya is still salty over an old Mario Cart match) - avoids walking long distance otherwise he'll start to feel tired, Albatross offers to take Doc everywhere - really good at darts... like his accuracy is scarily amazing, but guess you can't expect less from a doctor with his credentials - his way of showing affection is by being... very uncomfortably close to someone and then waiting to see if they're going to react, if they acknowledge his presence he smiles and then just walks away - very fidgety when he's doing something that isn't his job, will often fidget with something in his hand like a paper clip or rubber band, but suddenly that all goes away when it involves work - youngest sibling in his family... idk he gives me that energy

Albatross: - uses text emojis like ":D" and ":O" and so on; it does not matter who he is texting and he can and will accidentally text that to Mori on the phone (then proceeds to get lectured heavily by Pianoman) - answers his phone/messages immediately the moment that he gets them - can and will talk his ass off for hours on end, sometimes he does it to annoying Chuuya, but sometimes Chuuya actually wants to listen to it all - metalhead, this is canon actually i'm asagiri - gives the best hugs, like he gives big bear hugs; greets all of the Flags with hugs despite they're reactions - human heater, is always warm and it doesn't matter what season it is... he's just strangely warm all of the time (sometimes Doc sits next to him during the winter or if he's cold because he gets cold easily, and is a lot thinner than the rest of them) - openly bi, like he talks about it all of the time if he finds a man attractive

" I mean I know this man is our next target, but his ass looks nice in this file photo- " " Albatross." " Sorry.

-has freckles on his cheeks - has heterochromia, his eyes are blue and red

Chuuya: - has freckles... like everywhere, used to cover them up with makeup when he was younger and around The Flags, but then forgot one time and then Lippman said that it fit him and he stopped covering them up - can pick up any instrument he finds and owns a couple of guitars - huge audiophile and will judge every pair of headphones or recorde/cd/speakers that he's given; the record player in his house is very extra and over 2000 dollars - sings to himself when he's doing chores, or if he's playing music in the background, he will dance and sing while sweeping the floor - despite being musical, his dancing tends to be very clumsy (was once caught by Albatross and he made fun of him for a whole week) - can speak French and will cuss in French without thinking when he gets annoyed - knows all of the Mafia gossip, but no one knows he's a gossip-y kind of person... he knows everything about everyone, often finds himself hearing two different sides of one story - shopaholic (he cannot close his closet door anymore because the door is broken because it's so crowded in there)

[octoberwren]

So I hyperfixate on shows, I always have. I love storytelling. I'll be obsessed with a book/show/movie for a time and for whatever reason that fades. It fades rapidly if i don't care for the writing or the way its heading. I enjoy storytelling that grabs me and I'm a romantic at heart so typically I like shows with romantic relationships and friendships as the overall theme. (Fairy Tail being one of them)

Outerbanks was one of those obsession of mine, i got into it last year but to be honest that hyperfixation faded when season 4 was gearing up for one reason or another. And to be honest I'm glad it did. I've had writers fuck with the show i loved before, I've had to watch characters that deserved better than death as their "salvation" die for "stroyteling purposes" when honestly it was due to bad writing. Ben Solo comes to mind (Don't get me started) I've already lived a life filled with death, grief and trauma. I don't need that in my media. Death is not the redeemable action they think it is. Life is worth living, wanting peace and happiness with those you love, forming new bonds, growing and changing and loving yourself and those around you is the fucking goal and the fucking point. It's what makes life worth living and celebrating. i can not say this enough.

So to turn around and spit on that character for the sake of bad writing is fucking bizarre man. (I know about the drama, i also dont want to talk about that. The actors personal life is none of my business.) If for some reason the actor playing JJ Maybank couldn't continue playing that character anymore? Cool, unfortunate but like i said, none of my business. It was on the writers to create a better send off for him, than to blatantly disrespect the character like that. I'm not saying you can't explore grief, I'm not saying you can't write a gripping story about that. You can. But nowhere in my silly little comfort surfer show did I expect for them to kill one of the main characters off. Their parents? Sure. The sides characters? Yeah. But not them. You don't set up 4 seasons of them escaping frankly unbeatable odds, asking the viewers to turn off their critical thinking skills as the pogues defied the realms of relaity when it came to death, to turn around and have one of the fan favorites die. You just weren't clever enough to write a better conclusion. And luckily my hyperfixation did die or I'd be more pissed than this.

I may make a more in depth YouTube video on this subject as a whole because honestly i can talk about writers killing off depressed and abused characters as a self scarifice "move" for hours.

I have depression, PTSD, and so on. i have gone through unspeakable parental abuse, i have attempted suicide. i have survived by gritting my teeth and making fucking sure my mental health is taken care of. I have dug myself out of the abyss time and time again. I am a survivor. A final girl thank you very much. Do not tell me that the woman i used to be deserved a tragic end. She did not. It makes me so fucking mad seeing posts of fans that found comfort in this show, that related to JJ as someone free and filled with hope and loyalty despite his horrible childhood get death as his ending. It makes me livid that, that is what the writers chose as his legacy of thier own godamn show. Pain at the end of it all? And for what? Put him in a coma (to stick with your soap opera of a show that you set up) take him somewhere where he can't get back yet but still maintain the narrative that you made. I don't know be creative??? Thats your job??? Not the same old fucking dying trope that you knew would piss off your fans.

Listen, to the fans that are struggling with it. It's bad storytelling. It's bad writing. You'll find another story to relate to. Another character to find joy and draw strength and inspiration from. (And hopefully they'll take the care needed to tell such complex stories and themes)

If you have survived awful things, if you relate to him in one way or another, that is not your legacy. That will not be your story. You will find peace, and friendships and love. Don't let bad writers make you feel like your destiny is pain. It's not. It never was. You matter just for existing.

Anyway, I'm done ranting now. Be safe and take care of yourself.

[baby-girl-aaron-dessner]

I am sos sorry I keep coming to your page to rant but I really need a safe space to vent.

I also feel like I am repeating my self but I just can’t keep it in.

I don’t know if they have always been this way but I feel like the swifties have official reach a new low.

The mental gymnastics they are doing right now to make the album seem like it’s the ultimate masterpiece and that it’s not just about a woman who cheated and still expected a proposal and then couldn’t handle the criticism for dating a racist is beyond me.

Yes the lyrics are really good and yes the growth in her writing is very noticeable but this is not the masterpiece of the century, especially that art is subjective.

Just because you love it doesn’t mean everyone has to. Just because you relate to it(although that is troubling imo) that doesn’t mean everyone will.

I just cannot see another “you don’t get it because you don’t understand poetry or deep thought” essay.

Like chill it’s not that deep.

I saw a video of one of those TikTok famous comedians saying something along the lines of this album is for the 30 year old woman who still trying to figure out their shit and my first thought is “correction - this is for 30 something year old white women who have not figured it out and want a medal for their tantrum”

No offence to anyone, but she is not exactly talking about extremely deep subjects here.

She is not talking about woman struggling with their mental health because they don’t have access to mental health services

She is not talking about what it’s like for woman surviving abuse in any of its forms.

She is not talking about the struggle of woman with their self image.

She is not talking about woman who are a tilll trying to find their voice in this cruel world.

Is definitely not talking about the Palestinian women struggle throughout the genocide.

I have heard this album all 31 songs and the only one I felt like she actually was raw was the prophecy.

Because let me tell you all her other songs, even though many are deep and talk about her struggle with the backlash and how she was being treated by the media, they were in many ways self inflicted. She kept arranging pap walks, she was the one who openly dated a racist, she is the one activity in a PR relationship so she can get talked about, and she is the one who is not on the right side of history by not talking about Palestine.

So she can sit down and shut up about being prosecuted like she is some victim.

I am very sorry about the big ass rant but I am just fucking pissed with all of this.

Hi sweet anon, this is a safe space for you. Please feel free to rant whenever you feel like it.

As someone who has been in this fandom for 15 years approx. I can confirm that Swifties have always been delusional.

Most of the fandom don’t want to understand that Taylor admits to her flaws - e.g. narcissism & cheating - and this makes it difficult to have honest conversations about her work.

Additionally, this is one of the most problematic issues about Taylor: her use of liberal feminism. Many Swifties have come to me over the years and asked, “what makes Taylor’s music white?” In response, I have explained to them that it’s because she lacks an understanding of intersectionality.

For example, If you listen closely to “The Man,” you’ll understand that Taylor isn’t criticising the actions of her male peers, instead, she’s lamenting how she isn’t able to do what they do. Her biggest point of oppression is that she can’t flaunt her dollars. This lacks an intersectional understanding of feminism because her only source of oppression is being a woman. She doesn’t know what it’s like to be queer, poor, POC or confront any other form of oppression.

It got to a point where the alt-right in America loved her and she waited until 2019 to criticise the Republican Party’s policies under Trump. She profited off of their support for years until she decided to take an ethical stance. That’s simply not good enough.

In 2019, when she was sinking into irrelevance after her album “Lover” didn’t do well, she had an activism era. Now when she’s at the peak of career, she no longer cares to be “on the right side of history” because god forbid she sacrifices her fame and wealth to stand up for what is right.

I suppose our only consolation is that she’s self aware. She knows that she is the “anti hero.”

[a-story-teller]

Seriously one of the most confounding things in the world is pop-Christian moralizing.

"Is ASMR ok for Christians?? 🤨🤔😧" I'm not sure in what world it would be sinful to listen to soothing brushing, ocean sounds, and tapping, yet someone felt the need to ask the question, and someone else felt the need to make a YouTube video answering it. (I didn't watch it, so I don't know the verdict, but somehow you're trusting the verdict to a rando on YouTube and not Discernment from God?)

"Christian facials" because having a hot towel on your face and putting on serum is in any way aligned with a religion or lack thereof, and therefore needs to/even Can be made Christian?

"Christian-friendly sex positions" and the only difference is it's stick figures instead of realistic drawings, and instead of male/female or penetrator/receiver, it's husband/wife. Because you know those goofy health-book illustrations were distracting you from the righteous goal at hand: eating your girl out. But you can't call her your girl, you have to make it clear to everyone seeing you have sex (which... is just the 2 of you, right?) that you're having Good and Not Sinful sex, because you, a Husband, are Married to your Wife. Side note: the stick figures actively make it harder to figure out the intricacies of any of the positions and therefore are objectively shittier at doing what they're made to do.

Christian soap, christian mints, christian calendars, christian music, christian curtains, christian fiction, christian restaurants, christian news, christian shops. There are things in the world that are OK being secular. The fact that your soap does not have an icthus sign etched in that washes away in 3 days anyway does not make you a bad person, or even a bad christian. Your home does not need something Christian™️ in every room for people (or yourself!) not to forget you're christian... I assume?

The king who must say he is king, etcetera. This kind of mindset is so boggling to me, and reeks of nominative faith and deeeeep insecurity. Retail therapy but instead of buying temporary happiness you're buying temporary grace. Being so beholden to the dogma of organized religion that you go to any person feigning authority on the subject rather than using your own brain to make a decision. The idea that things can only be okay to interact with if they're explicitly christian, as though interacting with it as a christian doesn't inherently put it through a christian lens; as though you can only get things trickled down to you from church authority figures with robust enough constitutions to judge what's ok for you because you don't have the ability to think critically; as though you should stay away from what's "sinful" rather than, LIKE JESUS, be able to go into it and be a good example; as though instead of learning to be capable of handling it, you should be as weak to sin as possible; as though you have to go through the world with kid gloves because touching something dirty would soil your soul (which, of course this implies, is sparkling - impossible, arrogant, and kind of denying God, lol [actually, not lol, I'm expanding on that. Denying God by refusing to admit your own sin. Denying God by refusing his grace because you won't admit your own sin. Denying God by acting like his power couldn't absolve something as simple as being exposed to sin, let alone if you did end up making a miatake. Denying God by keeping yourself in Good Christian spaces and not being there for people who need outside help. There's more but I digress]).

Also, the childish áffect of refusing to say things as they are because that would be bad, but referring to it in euphamism is fine - or, transversely, that using colloquialisms is bad, but medical speak is fine, depending on what breed of crackpot christian you're dealing with. "Hanky-panky" just say sex. "Adult drinks" just say wine, beer, liquor. "Flower" for the love of all that is holy just say vulva/vagina/virginity. "Breasts" is fine to describe your chest but "boobs" is not. You can say "buttocks" but not "butt". Discussing bathroom activities is decisively not cool but if utterly necessary you must say "urine" and "feces" because pee and poop are too pedestrian.

Like, entire side tangent, but the weirdly widespread christian-ism of not discussing things frankly or discussing them super detachedly, but both preferring to never discuss them at all, regarding anything "potentially sinful" or "not spiritually uplifting" (usually boiling down to "anything physical") is so whack to me. Do not discuss your period, even in female spaces, because it's tmi. Don't talk about your health issues if they're not Clean enough subjects, even as something to pray about (like breast/prostate cancer, shitting diseases). Don't ever talk about your sex life except to wiggle your eyebrows at your kids when they're old enough. Don't hug your male friends, daughter. Don't play with your little cousins, son. Sex is so so bad but everything is about it, actually. Sex is so so great which is why you should feel guilty about ever wanting it. All nudity is sexual. Dress so they know you're a woman but also that you're a lady. Fart jokes are not allowed. You must remember that all men are looking at you with lust at all times but you can't hold that against them. All things that get you sweaty or muddy are bad. Hair on women is unnatural but just dandy for men, except we can't talk about pubic hair so you're just going to have to figure out on your own if it's less sinful to not think about your vag enough to do anything to it or to ensure you're free of all sinful hair. Here's how to do makeup in a god-honoring way, because you couldn't know on your own, and you must both jump through this hoop to be acceptable to your men but not have enough fun and personal expression with it for it to become anything other than a chore. It is wrong to kill, which is why we support the troops. We are supposed to help the poor, which is why I drive past the beggars that are dirty and ragged and smelly. We are supposed to celebrate God with our bodies, which is why my most spiritually moved state equates to slightly raising my arms.

I can't close this post without including my oft-quoted favorite example of this weird-ass pop-Christian phenomenon translating to real-life people in real-time thoughts: my mom saying she had to take into account "which ice cream flavor is most glorifying to God" at a froyo shop. Either it's raspberry, or she chose sin that day.

[boltun-tr]

this video

it opened my eyes so much more

what the FUCK is even a “strong female character”? because it can be so subjective, it can be so many things, when people say cinderella sucks or snow white and ariel etc is because theyre cute and feminine and kind or do mistakes, especially so called “feminists” say this because being kind and feminine is seen as weak, wich is a another can of worms that can be opened

snow white expreiences fear and terror after being told her stepmother wants her DEAD,she isnt a person who physically fights back but if you watch the damn movie, you can see she knows when she is mistreated, she can be sarcasitc too, even after years of abuse she tries to keep her head up, also please thats a 14 year old girl, i was even more timid than her at that age, being positive despite your situation doesnt make you weak, its a strength, if you was a woman or girl want to dress feminine, then go for it, if you enjoy it why should it be a bad thing? if you want to look masculine then go for it too

what i said about snow white also goes for cinderella, they have similarities so i would just repeat myself

then lara, she has a tomboy side but also has a feminine side,then her goals being very simple but relatable, just like the princesses, she herself does mistakes, does things because she has her own hopes and dreams,im so tired of this bad faith criticism, if you want to criticise them, then u know, watche the movies, play the fucking games

im not gonna talk about the live action remakes this post would be longer, but lemme tell ya, these movies did exactlyyy listen to the bad faith shit, its like crystal dynamics did the same

“if youre not a absolute girl boss and dare to have have flaws and cry alot then sorry sweaty you suck as a human being” fuck off

so yea, i guess just make sure you have fun and are passionate with how you write your character, your female character doesnt suck just because she is kind and feminine, or a tomboy, or very masculine and muscular, or if she is emotional, or does mistakes, bitch i WANT TO SEE THAT IN FACT, i love when a character does mistakes, it makes me feel seen lmaoooo, a character can be a loser, not everything needs to be a superhero or something i dont give a fuck

there cant be a direct answer to this,what makes a character empowered, at least i dont see it, can be fucking anything, i wish i could add more but thats my two cents, this is in my drafs for years lmao and now im just typing out how i feel

i guess it means in short, if you have human flaws, emotions and do mistakes then youre a bad character? PLUS being cutesy and feminine? then the issue mostly being bad faith and lazy ass criticism, nuance is also something that lacks most of the time, i guess i get it now

dude my brain broke

my fave princess is snow white btw and i will defend her 1938 version, thanks for reading this mess LMAOOO

[arkus-rhapsode]

I want to talk about Crimson Flower and 3H as a narrative

So... after FE3H discourse makes the round every other week, I end up thinking about it for a bit until I realize, hey maybe its better to not focus on a 4 year old game at this point and occupy your time with something else. Everything has basically been said about it at this point and you know where you land.

But this time my thoughts were just getting too strong for me to ignore, so that's why I'm writing this both get it out of my system and maybe just be another voice in the crowd that some people might want to listen to on the divisive topic that is Crimson Flower route.

Now I really hate that I have to put this disclaimer up front, but I feel like the well of this discussion has become so poisoned that I have to before I make my piece. I want to say that if you enjoy Crimson Flower, if you love Edelgard and believe she did nothing wrong and this is the right route, if you are a Black Eagles stan and you genuinely do not have any issues with Crimson Flower route as a whole-that is perfectly fine.

This will be a somewhat critical examination of the narrative choices about the execution of CF, which I feel like whenever 3H, specifically Edelgard is discussed, there is often very disingenuous arguments people make. Which I believe can create more defensive fans of a particular aspect of a story that we should be able to criticize freely. Which perpetuates this never ending cycle of discourse of legit criticism and defense against that criticism becomes drowned out by trying to decouple these very disingenuous claims from legitimate flaws. So I at least want to make it known that I am going to try my best to be in good faith with this post about this tricky subject.

I also want to just say, this is also going to be mostly an examination of narrative. The thing that I personally enjoy the most in an FE game, but we need to genuinely acknowledge that narrative isn't the only reason why people may like Fire Emblem. The ability to form parasocial relationships with fictional characters and being able to experience something the genuinely brings you emotional fulfillment is not invalid. Being able to enjoy fighting against establishments or ideologies you in the real world disagree with through the experience of a video game is not invalid. The same way someone who plays this game for the experience of gameplay isn't invalid when their primary enjoyment stems from the actual mechanics rather than the "logistics" of the story. The point I'm trying to make is that everyone will engage in media in different ways and will enjoy it other ways and that you don't want to invalidate those feelings someone had with their personal experience. So this is going to be about me and my experience as someone who primarily enjoys narrative.

I am just one guy with opinions who is going to layout what I had an issue with and how I think for me that could've been improved upon. You don't have to agree with me on that, and I'm not saying my way is legitimately better. This is all opinionated.

Buckle this is a long one

First things first Im gonna say Im not going to be using any information given in Three Hopes that may contradict what Im about to say. As in my opinion Three Houses came first and does not include the content from Three Hopes so I should think that Three Houses can stand on its own merits and the content that was provided.

Next thing is I want to catch people up on what in my opinion are the points I think CF did for me that ultimately left me unsatisfied

The post time skip Fodlan was too different and felt contradictory to Byleth's role

Edelgard's Characterization in CF in comparison to the other lord's in their respected routes

The role of Rhea

The role of Those who Slither in the Dark

SO the first thing is probably the thing I'm mostly going to have to defend if I haven't lost you already, but Fire Emblem Three Houses as a narrative provides us with a five year time skip in the game that depending on the route will change who is control of the monastery at this point in the war, with each route providing a lord the chance the forge their campaign. However, something I don't think is brought up enough is talking about the liberties that CF takes with their time skip vs the other three routes. Azure Moon, Verdant Wind, and Silver snow all paint a post five years Fodlan as one where the monastery territory has been abandoned, Rhea has been captured, the Alliance territory is split between an imperialist faction and an anti imperialism faction, and the Kingdom has been split with Cornelia making an alliance with the Empire to create the Dukedom of Faerghus as the houses of Gautier and Faldarius hold up the Kingdom.

There are obviously minor changes like Dimitri camping out in the monastery in Azure Moon rather than in the care of Kingdom Allies, but for the most part there is a consistently defined world between the three routes. However, Crimson Flower's post Fodlan is much different. With a grid locked Fodlan after five years with just the church territory falling under the control of Adrestia, Rhea wasn't captured and instead made it to Faerghus, The Alliance is still feuding amongst itself, but most importantly than all, Faerghus is a complete kingdom with Dimitri as King and no Cornelia's Dukedom.

So there are two main reasons why this bothers me.

The first is that Three Houses as a game wants to present you with three options at first, with the idea that your choices will effect the outcome of the war when Byleth returns, however there's enough consistency to imply that this is what Fodlan would be like regardless of whose House you would join, with the primary effect being your class making it to the church for the festival which in turn will make the monastery your new territory for which route. However, Crimson Flower decides to do away with the consistency, implying that the effect Byleth had on the situation is far greater than that of any other route resulting in a drastically shifted Fodlan. So this is more of a problem with FE3H as a whole with the consistency of choice. Fire Emblem has never really had a BioWare style choose your own adventure type of game. There's only one real choice you're given in the case of 3H and that's which house you side with, which you are essentially locked into. Black Eagles is really the only route that offers a choice beyond that with choosing to side with Edelgard or Rhea which will effect who the class sides with in the time skip. The reason I bring this up is that it essentially means that you the player are for the most part on rails for a predetermined plot where all the choices for the series have already been made. So the Fodlan post five years being consistent makes some sense as essentially mostly everything that happened in White Clouds was the same with the acceptation of the class. However, the Crimson Flower one not being consistent and being so radically different based on a game with so minimal choice feels more like an act of narrative convenience. That this is what happened because of a writer fully independent from me the player had decided that this is how Fodlan shall be for this story because it fits what they want to tell.

Somewhere I had once read that FE3H shouldn't be treated as one story, but since its a bunch of routes they're all a different universe. Everything might look the same but everything is fundamentally altered that you should accept it as an independent universe. And I can't necessarily say that's wrong as the concept of multiverses is to create a world/scenario that allows to explore familiar characters in unfamiliar settings and you could say that Byleth effect on Edelgard in picking this universe was just so much greater that it would result in such a different universe.

I personally disagree with that which brings me to my second point as I believe this one is going to be a more philosophical point on game design. But I feel like the effort to make three routes so consistent with each other with one so different seems to deliberately undercut the core themes of the game. Offering you a choice that this is who you get to spend your happy schools days with and it is what is going to result in them returning to the monastery one the day of your return. That is the true effect of Byleth on the characters. But as you play through white clouds you can't change what happens to other characters which will result in a brand new scenario. Byleth's presence can never stop Dimitri from going blood mad, Byleth's presence can't stop Claude from discovering the Immaculate One research, and Byleths presence can't stop Edelgard from declaring war. And that is a good thing for this type of on rails route story. Byleth while a player insert who can help their lord in the future, right now everyone is on a path that Byleth can only lightly change. With the characters acting independently of what Byleth and the player desire. And the post time skip Fodlan is a sign of that. Its Five Years without Byleth. This is what these characters would do, that they were always capable of doing and that is why Byleth's return and effect on them is important. This also gives us the ability to observe what a lord is like now after the war, and Byleth's effect on them but also see what a character could be like without that Byleth effect on them. Without Byleth Dimitri stays mad, without Byleth Claude always flees Fodlan, without Byeth Edelgard... well lets put a pin in that.

The only other true choice the player can make beyond the initial one is the side with Edelgard or Rhea which radically alters her. Which honestly feels kinda defeating in a game that has locked Byleth so much on a path and the one time it can deviate actively alters everything. It just feels very hollow as there are parts that make you realize how great the effect Byleth could have on people's lives could be if the game actively wanted to integrate choice with the plot. But it didn't. It wants to make one early choice then lock you in that route for several chapters then remove Byleth and then have their return effect real change on the future of Fodlan. Except for this one route. Its why Crimson Flower feels so much like an asterisk compared to the other route. And I don't just mean the lack of chapters, but this feels like a route that can only exist because it was the one that the developers bothered to create something overly deviating from everything else.

Which brings us to Edelgard's role in Crimson Flower as a whole. Now lets just get this out of the way. Im not going to be talking at all on the morality/realistic implications of what Edelgard is doing. I feel like the "Is she a fascist/authoritarian" conversation is not really helpful to talking about FE3H as a work of narrative and mostly exists to create a bunch of petty beef. This is also not going to be a deconstruction of ever minute detail of Edelgard as a character. This is an examination of her as a character in the narrative that we are presented. This will also involve comparison's to Edelgard and other series lords and I want it to be known that this is not a talking down to the only female lord in the game as being something "lesser" than her male contemporaries. I believe there is genuinely sexism when discussing Edelgard as a character, so I want to say that I am approaching Crimson Flower and Three Houses as a whole in a good conscious that there is not a "right route." That this is a game that where all choices have their pros and their cons. Because that's why we like this entry, right? That 3H would provide us some genuinely complex lords who were all capable of doing great and terrible things regardless of gender?

That's why I had such a long winded discussion about why the change in the post time skip Fodlan is so important both for narrative consistency, but also just generally keeping with the tone, but also it reinforced that Fodlan and its lords while all righteous in their own way can be dangers in their own way. Well that's when I return to the pin about Edelgard. So first I want to go through how the lords are characterized in non devoted routes.

Dimitri in non AZ routes is portrayed as someone so damaged by loss that his who response is to avenge and fight. To never stop making those pay for the damage it has brought on his kingdom as well as any lives lost during the tragedies in places like Duscar and Remire.

Claude in non VW routes is portrayed as a brilliant individual with a lot of charm but seems to be hiding something from everyone. He's a lot smarter than one could assume and that he has some mysterious tie to the kingdom of Almyra that he departs after leaving his land to the stronger kingdom that has come so far, be it Dimitri or Edelgard or the Church.

Edelgard in non CF routes is portrayed as a conspirator to overthrow not only the church but all rule in Fodlan as she believes the Crest based system is flawed and that the only way to enact systemic change is through a single rule. And while she is aware her ideals have costs, she believes that those costs are worth it when weighed against perpetuity of the crest system.

Now I want to talk about what happens to those lords as you play them in their routes.

Dimitri in AZ is portrayed as someone burdened by loss and his quest for vengeance has led to a neglect for his own health and his own actions. That his kill everyone attitude will perpetuate more loss of those he loves and that he needs to learn to rely upon others. That is his true responsibility as king.

Claude in VW is portrayed as an individual who is outside of Fodlan's system who has observed it more as a third party and believes it can be a great place if people work through diplomatically. He too is not a fan of inequality and racism and wishes to make a Fodlan that is more accepting and able to work through negotiation. While he still leaves Fodlan at the end, this time he has been able to implement real systemic change and make one that is sustainable beyond that of a ruler.

In CF we find out that Edelgard is a traumatized girl who was experimented on for the purposes of Crest Research. This makes her a conspirator to overthrow not only the church but all rule in Fodlan as she believes the Crest based system is flawed and that the only way to enact systemic change is through a single rule. And while she is aware her ideals have costs, she believes that those costs are worth it when weighed against perpetuity of the crest system.

Hey wait a minute, that's the same?

So this is where I get to the most glaring flaw for me in this case of narrative and why I think altering the post time skip so much did a lot of damage. Edelgard is a good character and a fascinating one, but in the practice of her narrative, her character journey in her own route isn't like the other lords. Rather she is "right" from the start of the time skip and with the world altering in ways to justify why she is that way.

Now look, I know right now someone could be saying I can't read, that its clearly stated in the text that Edelgard says without Byleth she may have turned into a complete monster to see her goals through to the end. This is referring to how in non CF routes she is on the backfoot getting beaten back and forced to take more drastic measures as whoever Byleth comes closer to ending her ideals. Unlike Dimitri or Claude there's not really a psychological arc she is working through with her sociological arc. Dimitri's arc is almost entirely hinged on him as a character changing in his route. And while Claude the character is also mostly the same, you get an understanding of how his continued participation in Fodlan's politics is so important as he effects sociological change. Claude also does the less stuff that could be considered questionable in Fodlan. He neither initiates the war nor does he intimate greater conflict that is tied into a character arc like Dimitri. Claude action's through the war are mostly to keep the Alliance fighting against each other with avoids giving one side a greater advantage. The truth is Claude real "flaw" is that by being an Almyra he is from a race outside of Fodlan that is inherently untrustworthy in society so his continued prescience in his expanded campaign is done with changing that mentality.

Now one could look at everything I said about Claude and say "well isn't that Edelgard though? She's not the one who needs to change but rather society needs to and this is you making it a fruition?" And I would agree however, then why did post time skip need to change and not Edelgard? So going back to the altered Fodlan, the Fodlan post time skip we see in non CF routes has what can be argued Edelgard's biggest moment of political conquest, making an alliance with Cornelia inside of Faerghus using her authority and influence to expand and bring over a chunk of the kingdom underneath Edelgard's wing. And this makes sense with what has been proposed before us-Edelgard had released a manifesto to lords that would side with her and become her allies in the war to come. This act of subversion is something that benefits her goals for conquering all of Fodlan. However, this is one of the key alterations in CF's time skip. Faerghus is not broken in half, with Edelgard having not empowered Cornelia over the five years. In fact, you do battle with Cornelia with her as a kingdom general.

So if Edelgard isn't a character who is subject to change, why did the world change? Well there is speculation in universe that perhaps Rhea fleeing to Faerghus didn't give her the ability. But I do believe the most likely reason is that narratively the writers of 3H wanted to avoid a scenario where while Byleth was gone Edlegard may have empowered and individual like Cornelia. One of the most objectively evil characters in the game. Now I won't go into to detail if I believe Edelgard knew Cornelia was a TWSITD or not, but as it is presented to us, she seems unaware. Instead I'll focus on the primary point is where they don't want to discuss that while in her route Edelgard was capable of doing something that would potentially cast her in such a negative light. After all, the point of her campaign is the while the bloodshed is worth it to make a new Fodlan free of crests, she's willing to show lenency to those who bend the knee. Again, an action not unreasonable for her character. However, I feel like this not happening in CF genuinely robs us from exploring the flaws of Edelgard's path/showing us what Byleth's effect on her truly is.

This is compounded by my issues with how CF is the only route in which you have an active choice beyond class. That by choosing to side with Edelgard when given the option in the tomb would result in this much radical history alteration. But also all of Byleth's effect on her not being as much conqueror over the last 5 years was all done pre time skip. That all that change was done at that moment rather than being something that prompted her to return to Garreg Mach where they'd remeet Byleth and then that would get them to claim it as a base of oppositions in their future war. In CF, Garreg Mach is already claimed rather than the formation of the Dukedom with no real progress. So it makes it seem as though Byleth's real effect on altering this lord's path was always possible in the short time they knew them before disappearing over five years. Of course this is again a bit miffling given that CF is the only route this is a possibility. We can't Change how Dimitri will act in the pre time skip. That he will make choices without Byleth even if they feel urged to remeet at Garreg Mach. But in the case of CF, Edelgard has apparently been changed despite the only real difference in white clouds fighting beside her in the tomb and against the church pre timeskip. But that has sociologically altered so much of Fodlan.

And maybe you genuinely believe that one extra change is enough. Perhaps that one extra choice is enough justification for such a radically new scenario. For me personally, I find that unsatisfying and feels more like the writers traded in a level of consistency for this new scenario that greater justified being on the side of someone who is portrayed as a more active antagonistic force in other routes (Reminder this not me saying the Empire route is an antagonist route. All routes are antagonistic relative to which side you are on).

This is where we get my first what I would've done to make it more narratively satisfying for me. Keep the same post time skip Fodlan as the other routes. Keep Edelgard having brokered a deal with Cornelia to establish the Dukedom and have Byleth find out about it. Be some that either Byleth or another character close to Edelgard questions the extremity of. Then have Cornelia do something evil like she's experimenting on people for TWSITD or maybe she's just abusing the power. Then have Edelgard clean it up. Have Edelgard realize that while she still wants to make her dream of a crestless Fodlan a reality she can't just back lords or nobles that are willing to go along with her for more power. She can still keep the Dukedom territory, but instead she'd be now more understanding what it means for there to be a ruler with a noble soul. So she continues her campaign of conquest but has realized that if she's going to be emperor, she can't just empower people arbitrarily.

In my opinion this not only would tie together some more TWSITD plot while also paralleling it to Edelgard's past and how there was no authority figure to step in and help her all those years ago. But now she is that authority figure. And while it doesn't call her method in question and like Dimitri and Claude she can continue her expanded influence over Fodlan, but now we actively see that Byleth has helped show her that her allies aren't just those pledging loyalty, she actually needs to empower those who are good. She gets to have her fight with Cornelia level and this won't stop her from killing Dimitri in the future.

Like I said, this is what I'd do. And in my opinion it would give Byleth's presence in CF more purpose beyond the bond with Edelgard is nice and fun. But also stay consistent with each route. Showing that there are flaws in Edelgard's sociological plan, but not undercutting what her actual goal is. You can still believe her quest is just and the only right one with her taking an active role in not making the mistakes she perceives Rhea as doing.

And if you are still with me up to my third point, lets talk about Rhea.

So Rhea as a character can best be described as a neutral evil throughout White Clouds. She doesn't really do anything but there is a lot of ominous foreshowing and presentation that Rhea may be up to something or at the very least complicit with many of her policies and tendencies. And when I say "evil" I don't mean she's bad (please don't skewer me Rhea fans). I mean that if the crest system is flawed and the church is emblematic of the systems maintenance of that flawed system. Then Rhea as the face/founder/head of that church bares some responsibility even if all she does is passive.

In all other routes, Rhea is captured by the Empire. Imprisoned in their capital. Anytime she is seen after she is characterized as somewhat docile or defeated, having been imprisoned for so long. VW goes a step farther to reveal what she did as Seiros and all of her actions leading to this point presumably all thanks to be imprisoned and rethinking her life over. CF is the only one Rhea is allowed to be an active player, she is now portrayed a ranting self righteous warrior priest who swears vengeance upon Byleth for being the reincarnation of her mother but not being a proper vessel as she intended and fighting against her. Naturally, if Byleth being the potential for the reincarnation of Sothis siding against her is what her drives her mad, that is believable, however much like the altered Fodlan Rhea in this version is not captured. This is now for Rhea to serve as Edelgard's true climatic opponent. With her symbolically killing the representation of the church and the power of crests being slain by Byleth and Edelgard. Its very poetic. But once again we reach my issue of the time skip altering so much in CF.

As stated before, Rhea was presented as a neutral evil, in doing so she's not really a direct antagonist in any route. Except of course Silver Snow. Where she is deployed as a weapon against Byleth. In this case killing the immaculate one symbolically is cleansing the church of Rhea and allowing it to pass into the hands of the new archbishop. However, Rhea in that fight is under control. Rather than be conscious as an opponent, they make her more of a beast without choice. Thus making this less a flawed character meeting their end and rather a forced confrontation by the evil cult of evil. Now Rhea I think being kept a neutral party was ultimately a good choice. We are given enough about her to understand she has done things questionable and should possibly not hold the authority she has. But she also has not instigated any open any hostility. As such Rhea is more a symbolic player. By making her an active player, CF has to make Rhea more domino and more a threat. She can't portray constant neutrality in a war. But by making her the active antagonist, it makes her less of a symbol and more if just a rotten character who Edelgard is justified in wanting dead. And much like Cornelia and the Dukedom, this alteration comes off as an attempt by the writers to never truly challenge Edelgard's plans for Fodlan. That Edelgard has no flaws in her plan and the bloodshed is beyond justified more than just philosophically. Had Edelgard captured Rhea in CF this would lead to some genuinely uncomfortable questions of keeping her a prisoner. And to 3H's credit they were actually willing to make the player uncomfortable already in Dimitri's route showing him as a mass murderer. Once again, I want to express this isn't me saying Edelgard's quest or goals are wrong and the plot should undermine it. This is me saying that for a game that wants to genuinely have nuanced and uncomfortable political choices made by their character, this is the route where they opt to alter the scenario so that Edelgard is the most justified and does less things that one could find objectionable. Flattening a lot of interesting implications this would raise and what Byleth as a force in this route could possibly able to influence.

Now one could again say, well the reason Rhea wasn't captured because Edelgard didn't use crest beasts this time. Edelgard not using crest beasts is a sign Byleth is changing her and thus that greatly alters the future. Once again, I can see that as understandable justification, but again, my issue off only ever being able to effect this lord pre time skip comes in again. If it was possible to get Edelgard to not use crest beasts, then how come it wasn't possible for me to get Claude to have Almyra support? How come I couldn't stop Dimitri before the war? The answer is again as a game the only other narrative choice that could possibly alter the story happens in CF which is the side with Edelgard in tombs choice. And while I'm not against the idea of angry pope Rhea, but I feel making her CF's full on antagonist was almost making a straw man antagonist for your opposition.

As an aside we also know Arundel is still on Edelgard's side and he is Thales so while she might not know his entire deal, I hesitate to imagine he'd stop using crest beasts in the war over the two years Byleth was gone.

If I was going to once again alter CF to be something I would personally find more satisfying. Have Rhea captured and then have Arundel use the same rage stuff he uses on her Silver Snow. This way you can facilitate an Edelgard vs TWSITD conflict AND you still get your symbolic victory of Edelgard and Byleth killing the symbol of the crests and church. Again, Edelgard is able to do what she wanted to originally, but now we are also confronted with the role TWSITD did play in her life and allowing her to rectify it as well as truly killing the old world by getting rid of Rhea and Thales.

And final point TWSITD. TWSITD are bad. They've always been bad. And they genuinely damage the overall story of CF because this is beyond just a narrative choice, its very clear CF as a story wasn't complete. I feel confident in saying that given the numerous chapters missing compared to the other routes, but also the epilogue needs to say "Oh yeah there was totally a bunch of war against them. Totally." I know this point is probably the least controversial when talking about CF, but I still think its a glaring flaw.

So what's the tl;dr?

This is not an "I hate Crimson Flower or Edelgard post" I genuinely have no interest in debating people about characters that like or enjoy. Nor did I want to turn this into a moral argument about the implication CF. I feel like these topics do real damage to any real criticisms one can have for CF as a narrative.

Which for me, CF as a route fails to really mesh with the rest of 3H as a whole. It feels like it takes a lot of narrative ways out to avoid potentially making their lord seem objectionable, despite much of this game wanting to be about how tragically flawed everyone is. Im not saying Edelgard needed a come to Jesus moment of "Are we the bad guys?" No absolutely not. In my opinion we just lack seeing Edelgard change the same way post time skip as others have due to creating an entirely brand new setting that keeping her as a mostly the same character is not questionable. Nor does she have to do anything that could truly be seen as flawed. Things that Byleth's influence may overcome.

Edelgard is a good character and her goals are understandable. I just personally find the narrative bending to accommodate her in ways so different from the other time skips genuinely make it a weaker narrative for me.

If you enjoy CF as it it. More power to you. Please keep loving CF. This isn't supposed to be a dissuading post. This is merely me as one guy who likes a lot of FE because of the stories it can tell sharing why he personally didn't enjoy this one. Maybe I helped put it words for some who might feel similar. But this is just my opinion

If you have something you'd like to add or reply in the replies or tags please flee free, but for the love god, please be cordial about it. There is so much toxicity and disingenuous takes around Fire Emblem Crimson Flower and Edelgard and Rhea in general, that I would like for us to please be able to talk about this in good faith.

[theuniversitychallengereview]

The Fame Game

For the past week or so, I have been obsessed with Chappell Roan’s album The Rise and Fall of a Midwest Princess. It is full of incredibly catchy hooks and playful lyrics and is very addictive. I also listened to Brat by Charli XCX and it paled in comparison, just in case you thought I was playing to the crowd with my admittedly late-to-the-party hot take on Roan.

The past week has also seen a swathe of articles about how Roan resents the fame she has acquired as a result of this banger album. She describes this fame as having the “vibe of an abusive ex-husband”, and talks about how people act like they have a right to her time and fail to respect her boundaries with creepy behaviour.

Backlash to the backlash

This complaining opened her up to criticism, as she is someone who has courted fame and is now seemingly rejecting those who are responsible for her being famous (and by extension, rich) in the first place.

But that’s not really fair, is it? Regardless of who you are you should be able to have some boundaries. Football players are sometimes slagged off for ‘not being able to take’ the abuse which gets hurled at them from the stands, but its not normal for someone to go to work and get yelled at by strangers.

Social media unfairly gets the blame for a lot of things these days, but on this one I think the finger is correctly pointed. People as mildly famous as YouTubers with a few thousand subscribers are subjected to online abuse (albeit on a smaller scale than Roan and Premier League footballers). This abuse is sent partly because the abuser doesn’t view the abused as an actual person. They are merely an Internet persona, not a thinking, feeling person who may read those posts.

Sign up for The University Challenge Review

Parasocialites

When this view translates to the real world, as can happen in instances where people are super-famous, you get things like a fan grabbing and kissing Roan in a bar. These are not people, they are avatars through which the viewer is free to do anything they please. Characters in a video game.

One of the lower-level examples of this are some of the tweets you read about University Challenge contestants. Most tweets on the hashtag are lovely, encouraging and celebratory, about the enjoyment of the show. But every week there are a few which single out contestants (more often than not the non-male contestants) for abuse or creepiness.

The podcaster Blindboy (whose recent episode prompted me to give Chappell Roan a proper listen) gets around the problem of fame by wearing a bag on his head for any public appearance so that people don’t recognise him without it. But this isn’t a solution for most people.

It would be better if people remembered that fame doesn’t reduce the wearer to a caricatured cardboard cutout, free to be moved around as they please for whatever purpose they see fit.

So with that in mind, let’s get onto the episode which featured eight very real human people from the Universities of Reading and Exeter.

Reading were making their first appearance since a run to the final in 2022. Their captain that year, Michael Hutchinson, was on Only Connect last week with Fatima Sheriff, a member of the Imperial team who beat Reading (the third member of the OC team was Michael Kohn, who had reached the UC semis with Imperial the year before).

From rivals in the #UniversityChallenge final to teammates on Only Connect

Hutchinson 🤝 Sheriff (plus 2021 UC semi finalist Michael Kohn!) pic.twitter.com/hfqfi81fot

— Joe (@TheUCReview) September 16, 2024

If you want to watch the episode before reading the review you can do so at this link.

Here’s your first starter for ten.

To be fair to them they manage two out of three bonuses (and the third one on the Great Glen was pretty tough), but they answer them in the way you would answer a question about Norway, if that makes sense.

The second starter also goes to Mouelhi, as does the third, and the fourth, and the… no, that was where the run ended. But still, four starters in a row to kick things off is pretty incredible. It is not the all-time record, as confirmed by statman Jack McB, but it doesn’t happen very often.

Also, for the record, Mr Mouelhi’s getting of the first four correctly answered starters of the game isn’t a record; I know of at least one occasion where this has been bettered (the first six in a QF many years ago). #UniversityChallenge

— Jack McB. (@jack_jmmcb) September 23, 2024

This streak gives Exeter a lead of 95 points before Finkelstein finally gets Reading off the mark. He takes a second consecutive starter, and I’m already thinking about what I’m going to write if he takes four-in-a-row like Mouelhi, but Moorcroft hits back for Exeter to put a halt to these musings. Four-in-a-row-in-a-row might have been the opening sentence.

We Gonna Rock Down

The music starter on Electric Avenue goes to Exeter’s Rock, and they clean up with a hat-trick of bonuses on British synth and new-wave. Reading look like they are building some momentum, but Moorcroft stops them again with condensation, winning Exeter a bonus set on Euclid’s elements, a book about maths which describes a cylinder as:

“a figure created by carrying a rectangular parallelogram around and restoring it to its original position, while keeping one side of the parallelogram about the right angle fixed”

Which I can’t wrap my head around at all. Does wrapping my head around an idea also create a cylinder somehow? I don’t know.

Finkelstein grabs another starter, and Reading close back to within 40 points, but this would be the end of their resistance as Exeter ended the show with a 100–0 run.

Reading 100–240 Exeter

A close-ish match, before Exeter ran away with it in the last five minutes. They posted a decent score, and could make the quarter-finals so long as they avoid one of the big hitters like Bristol and Imperial in the second round.

Thanks for reading, and I’ll see you next week for Birkbeck vs Darwin.

[pastel-sweet-jirai]

Introductory post

Hello. You can call me Sugar. Basic info included here, more (extensive DNI, BYF, interests and so on) below the cut.

ꨄ 25 y/o MNDI, may post content inappropriate for minors (ageless blogs are subject to possibly being blocked. I won't block minors that just like my posts in passing (esp reblogs)- but you're on thin ice.)

ꨄ 'Lifestyle jirai' menhera demigirl. They/She pronouns (no he plz)

ꨄ This is a vent blog. Blog content warnings include: discussion of, or artwork depicting- S/H, E/D/dieting, hypochondria/health anxiety, suicidal ideation, OCD/ intrusive thoughts, financial trouble (I won't ask for money or provide avenues for donation or anything- I just want to vent), chronic illness, malingering, alcohol consumption and general sexual content. -- If any of this will be triggering for you, reconsider following or interacting and do what's best for your health. If any of this will be bothersome for you, just block and move on, plz don't report. I need this space. I don't have anywhere else. {Note- I will edit this post to include tags for theses topics so that my posts containing triggering content can be properly avoided. I do not condone unhealthy behavior, and would never encourage others to participate in any of the harmful behavior I may display.}

Interests

♡ Manga. I do not watch anime- I do collect and read a lot of manga. ♡ GL/Yuri (I'm so very gay, I love women) ♡ Alt J-Pop/chiika idol groups and girl bands. -(Faves are Minnanokodomochan, Zenbukiminoseida, Phantom Siita, CARAMEL CANDiD, MAD MEDiCiNE, AdamLilith and Misolade-Edison) ♡ Horror video games -esp classic action like ResEvil and Silent Hill -but also, Outlast, FNAF, Phasmophobia, Homicipher, I'm on Observation Duty, It Moves, and loads more -My alltime fave game ever is Yume Nikki ♡ Visual Novels - Faves include Subahibi, DDLC, 7 Days with the Ghost, Katawa Shoujo, and many more

BYF

♡ I kin spiritually- but I'm largely A-OK with doubles. This blog isn't for kinning, so I likely won't post much about it, but it as a part of my life and identity. Unsure if I'll ever include a kinlist on this blog.

♡ I don't concern myself with pro/anti stuff. I don't personally like (or romanticize) ships that include things like incest or pedophilia or whatever. But I don't care to censor or abolish that kind of content existing, and I consume content containing taboo subjects often, and with a critical mind. I won't post about discourse, but I might mention some games or manga that contains that content. If that stance bothers you, feel free to block.

♡ I'm shy, so sorry if I don't respond to DMs- but I'll probably follow back if you follow me. I'm new to posting to Tumblr so IDK the whole deal about 'having moots', or caring to talk to people. But I guess I'm open to it. I will say, while I want to be supportive and be a listening ear, please don't come to me for support when it comes to considering dying. I've had too many horrible past experiences with sui-baiting and I will NOT be in any position to give you the help you need.

♡ I am pro recovery, even if I don't center recovery in my venting. I'm currently in therapy by my own volition. ♡ I do wear the fashion- I like dark girly-kei, medikawa, and many other j-fashion substyles. I don't really know or care to know about discourse having to do with Jirai "fashion" vs. "lifestyle" or whatever. If I say something incorrect feel free to correct me. I like asking clarifying questions, and I never use sarcasm or have the intention to be passive aggressive, and my questions are always genuine.

♡ I have a poor memory (among other issues) due to my physical and mental health, so I might post similar (or the same) things, over and over again. Sorry if it's annoying. Genuinely can't help it right now.

DNI

✗ Bigots (Racist, Transphobic, Homophobic, et cetera.) ✗ Zionists ✗ Pedos (or even just adults who think being 23 and dating a 16 year old is chill.) ✗ Minors (I mean it)

About Me

Wow, you read to the bottom, thanks. I've struggled with S/H for something close to a decade now, and with depression and anxiety much longer than that. My E/D struggles are recent and I'm only coming up on a year of having it. I'm chronically ill and have been my whole life. I find it hard to interact and connect with people. I mask so hard constantly so I think people think I'm a better person than I really am. I'm formally diagnosed with depression and anxiety, and am being officially treated for PTSD and OCD by a therapist (not for long though). I don't currently take meds. I literally just need a space where I can speak freely without burdening everyone around me all the time. If anyone wants to talk at me about tips on how to navigate tumblr feel free

[coochiequeens]

Personally, I don't want to live in a world where little boys playing with dolls and little girls who don't like wearing pink are subjected to lifelong medical intervention because lunatics think these kids are in the wrong body. If that's the right side of history, then history can go f**k itself." - Graham Linehan

Stretched out on a hospital trolley after a surgeon had removed my cancer-riddled testicle, waiting for a doctor to give me the all-clear to go home, I lazily opened Twitter.

This was five years ago and, at this point, I had not quite nailed my colours to the gender-critical mast. I had defended women being smeared with the slur 'Terf' (for 'trans-exclusionary radical feminist') and was being monitored by trans activists as a result. This made me nervous, though I wasn't quite sure why.

I'd had an inkling of what I was up against when my wife Helen and I played a small part in repealing Ireland's draconian abortion laws. Working with Amnesty International, we appeared in a video in which Helen spoke of terminating a pregnancy because the foetus she was carrying had an abnormality which would have resulted in death moments after birth.

We tried to attend every protest and, at one event, I remember some strange person with a bullhorn bellowing out this nonsense: 'We want the state to pay for abortions!' [general cheering] '...and surgeries for trans people' [puzzled mumbling].

I felt uneasy. Sure, let's talk about trans rights, but first things first. We hadn't yet won the fight on abortion.

In retrospect, this was the first sign I had of the sleight of hand that would allow a sinister movement to attach itself to progressive causes and wrap itself in their stolen banners.

Then, when Ireland voted to overturn the abortion ban, Amnesty Ireland tweeted that this was a victory for 'pregnant people'. I was enraged.

My wife wasn't a 'pregnant person'. She was a woman, and a mother.

But these were only the first ripples of a gathering tsunami of madness. Online, people had started to go dangerously insane. It was such a slow process that I didn't notice it at first, but now, as I lay in hospital, I was collecting my thoughts on the subject.

I knew my positions were thought-through and sound, and I was sure that once people saw I was arguing in good faith, they'd see the problems with gender ideology and we could have a sensible, grown-up conversation about it.

I also told myself that, as co-writer of well-loved television sitcoms Father Ted and The IT Crowd, I had an audience out there who would listen to me. So I sent a few tweets carefully outlining my argument.

Meanwhile, I was in intense pain from the wound under my bandage and, when I was finally told I could go home, I couldn't stand up. A bed was found for me and I lay there, enjoying a bit of peace until the morphine wore off.

The visitors had gone and all was quiet. I decided to have a look at Twitter (now X).

My careful explanation of my position had certainly had an impact.

A trans activist and journalist called Parker Molloy, who identifies as a woman and is enraged if anyone disagrees, had sent me a number of increasingly frenzied direct messages.

After the third or fourth time telling Molloy I was in hospital, I ended the conversation. Meanwhile, another tweeter hopped into my replies to say, 'I wish the cancer had won'.

My ordeal had begun. Cast adrift, I was about to lose everything — my career, my marriage, my reputation.

A little bit after my brush with cancer, I brushed with something almost worse. A biological male, now going by the name Stephanie Hayden, was determined to wreck the life of anyone who flouted trans dogma.

A woman was arrested at home in front of her two young children and put in a prison cell for seven hours after she referred to Hayden on Twitter as a man.

When I made a public accusation about Hayden on X, Hayden didn't challenge it.

Instead, I was accused of breaking confidentiality by publicising Hayden's former male identities.

Hayden reported me to the police. The Guardian, whose editors seemed to have given up any pretence of being even-handed on this issue, published an article headlined 'Graham Linehan given police warning after complaint by transgender activist'.

It claimed I had been given a 'verbal harassment warning' by police acting on Hayden's complaint. This was untrue. I'd been phoned by a policeman who seemed confused when I told him that I'd blocked Hayden on Twitter months ago, so could hardly be accused of harassment.

The policeman then said something like 'stay away from her, awright?' and rang off.

For a national newspaper to headline this as a 'harassment warning' — a formal document that needs to be delivered in writing — was disgraceful, but typical of how many journalists liked to frame things that involved feminists and their allies.

After seven months of wrangling, the paper eventually removed the word 'harassment', which was too little, too late.

By then, the 'police warning' had morphed on social media into 'police caution' — which is issued where a crime has been committed and requires an admission of guilt, neither of which had happened. The false claim that I received a police caution for transphobia is constantly repeated to friends and colleagues to justify my cancellation. It was even presented to my publisher as a reason not to publish this book from which you are reading an extract. I found it grimly funny that the police and media were acting as reputation managers for a character like Hayden, but my wife Helen was terrified at being targeted in this way.

Hayden and Adrian Harrop, a Liverpool-based GP who was temporarily suspended from practising medicine as punishment for his aggression towards women on Twitter, trolled a Catholic journalist called Caroline Farrow, live-tweeting a visit to her home in a way that seemed designed to frighten and intimidate her.

She was about to travel to the U.S., but her visa was withdrawn. Harrop tweeted that he'd just visited the U.S. embassy in London: 'Consular staff very efficient at dealing with my important diplomatic business,' he wrote, with a wink emoji.

In a tweet, I called Harrop 'Doctor Do-Much-Harm'. The next morning, the police turned up at my door. I told them I wouldn't be changing my online behaviour one iota, and that Harrop bullied women online.

The policeman nodded, said something about free speech, and left. However, that visit wore heavily on my wife.

But the likes of Hayden and Harrop could not have had such success without accomplices in the police and the Press. It was surreal how swiftly they gained such power over society.

As for my career as a successful television scriptwriter, that proved to be over before the stitches from my cancer operation had healed.

Around this time, I received a letter from Sonia Friedman, one of the biggest theatre producers in London's West End, about me writing a new companion piece for the late Peter Shaffer's classic one-act farce Black Comedy.

I was apparently 'top of our dream list' to pen it.

Black Comedy is possibly the most ingenious farce ever written. I'd seen it years before with David Tennant in the lead and it left me giddy and envious. Now, going from lowly sitcom writer to being considered worthy of pairing with Shaffer had me floating.

Not for long, though. Only a few days later, Shaffer's estate decided on the late playwright's behalf that they 'didn't want to get involved' by 'taking one side or the other'.

More jobs began to fall away. A tour to Australia to teach comedy was cancelled because the company claimed it 'wouldn't be able to afford the security'. I discovered later this was a standard excuse given to those of us declared unclean by the new sacred class.

I'm also the person who worked with comedians Steve Martin and Martin Short for the shortest period of time. Five minutes, I think it was. A producer invited me to develop a comedy-drama TV series in which both would star. I had a flat-out offer and then, within minutes, an email from the same producer rescinding it, I suspect after a Twitter user in his office told him I was a bigot.

Even what I thought would be my pension was taken away from me. There were plans to make a musical of Father Ted, written and directed by me, which I was certain would be a huge hit, perhaps even make my fortune if I could get it right.

I hadn't reckoned how resolute the forces against me actually were, and how quiet my colleagues would be in the face of their onslaught. Sonia Friedman, the producer, told me I was 'on the wrong side of history' and advised me to 'stop talking'.

I suddenly found myself in a raging argument with this powerful woman who held my musical in her hands. But hearing one of these copy-and-pasted, thought-terminating clichés from the mouth of a colleague was more than I could bear.

Personally, I don't want to live in a world where little boys playing with dolls and little girls who don't like wearing pink are subjected to lifelong medical intervention because lunatics think these kids are in the wrong body. If that's the right side of history, then history can go f**k itself.

The meeting ended with each of us trying not to catch the other's eye in case it kicked off again.

I thought at least that Jimmy Mulville, the head of Hat Trick Productions, was on my side.

As the original producer of Father Ted, the company had a big stake in this new venture. But now the Hat Trick people began to go the other way.

I had another meeting around the supposed problem of my defending women and girls, in which, as always, no one could locate the flaw in my analysis as I explained over and over again: 'Children are being hurt. Women are losing their sports, their language, their privacy.'

Finally, I referred to the violent, terroristic nature of trans rights activism. Casually, off-handedly, Jimmy said: 'Well, there's bad behaviour on both sides.'

'Both sides' is a poisonous smear. No one on my side of the argument insists that people should be shunned by polite society. No one on our side wears T-shirts with slogans such as 'Kill all Terfs' and 'Die Terf Scum'.

I was told by one acquaintance: 'Some of the things you've done have been questionable.' 'Give me an example,' I replied. Long pause. 'All right, well maybe not.'

The final act was a meeting in the Hat Trick offices in which Jimmy told me I was to remove my name from Father Ted The Musical or he would not make the show — my show, which I had been tending, rewriting and refining for the best part of half a decade.

Once again, I asked what I was being accused of.

Jimmy rolled his eyes, as if it was self- evident. Desperately, I tried to explain what was happening to women's rights, and to the young girls mutilating themselves because of — 'I DON'T CARE!' Jimmy shouted. I left.

Later, I heard from my agent that in return for declaring me an unperson, Hat Trick was suggesting an up-front payment of £200,000 as an advance on my royalties. Initially, I agreed to go along with it, because I needed the money. But then I changed my mind.

I saw an interview with the mother of one of the women competitors who found themselves up against the trans swimmer Lia Thomas.

Lia was still physically intact and all the girls worked out how many towels to take into the locker room to cover themselves up completely as they changed.

'I asked my daughter what she would do if Lia was changing in there,' said the mother. 'And she said resignedly, 'I'm not sure I'd have a choice.' I still can't believe I had to tell my adult-age daughter that you always have a choice about whether you undress in front of a man.'

What messages have these girls been receiving?

My heart was ripped apart. I closed the door for ever on making any kind of deal with Hat Trick. I was prepared to betray myself for £200,000, but I couldn't abandon my daughter.

BEFORE the gender hoopla, I only knew people in the media. Now I had been so effectively cancelled that virtually no one in the media would return my calls. But I began to count as friends social workers, police officers, solicitors, barristers, doctors, nurses and academics who sided with me or shared my experience.

One of the few people I still know in the creative arts is the choreographer Rosie Kay.

At a party at her home in Birmingham for her company of young dancers — some of whom went by 'preferred' pronouns — the conversation turned to her plan for an adaptation of Virginia Woolf's gender-bending Orlando.

The discussion turned heated as she explained that she strongly believed in the reality of sex because she and her son had both almost died while she was in labour.

During that ordeal, her womanhood was literally a matter of life and death for her.

Her husband would never know that experience, and that difference between them meant something.

To the little sparrows of the Church of Gender, this was all high heresy, and could not be tolerated. The dancers harangued Rosie to such an extent that she hid in her own bathroom, then they formally complained about her to the company chiefs.

'They cancelled Orlando and then were making efforts to re-educate me, to stop me from centring women's rights in my future work,' Rosie told me. 'I had to resign from the company I founded.'

Then there's the children's author Rachel Rooney, who wrote a picture book called My Body Is Me. Its message was that children should be happy with their body.

But trans rights activists dislike any mention of being happy with your body as it undermines their message that being trans is a thrilling and transformative lifestyle choice.

Tweets called the book terrorist propaganda and likened Rachel to a white supremacist.

The author's 'trade union', the Society of Authors, declined to offer support. So devastating was the experience that Rachel stopped writing books for children and has now taken on a part-time care job.

But what did Rachel do to deserve cancellation? She wrote a beautiful, kind, responsible book for children, and she got the same treatment I received: they tried to destroy her life. Trans activists mostly target women for disagreeing with them, but I'm not the only man to have suffered. Some 30 years after we'd first worked together, I crossed paths once more with the comic actor James Dreyfus (Constable Kevin in The Thin Blue Line).

I persuaded him to sign a letter asking Stonewall, the former lesbian and gay rights charity which has altered its remit and done more than any other institution in the UK to promote extreme gender ideology, to reconsider its stance.

James agreed without hesitation. The letter argued that Stonewall was 'seeking to prevent public debate of these issues by branding as transphobic anyone who questions [its] current trans policies'. It asked the charity to 'commit to fostering an atmosphere of respectful debate'.

Stonewall refused. Even asking the question was painted as a moral failing. Five years later, James is still being hounded by trans rights activists and he has had difficulty finding work.

In 2021, the company Big Finish released Masterful, a celebration of 50 years of Doctor Who's arch-enemy, The Master, who James had played on its audio productions.

The credits featured every living actor who had taken the iconic role… except James. When the history of these years is written, it's not only the extremist activists who will be recalled with revulsion, but also the spineless corporate figures who never made an attempt to resist them. Their inaction contributed to the ruin of James's livelihood.

A brilliant comic actor, a gay man, was abandoned by the very people who should have had his back, because the celebrity class is more interested in looking like they're doing the right thing than actually doing it.

Meanwhile, a chasm was opening up between me and my wife as she watched me lose jobs and opportunities.

Helen was looking for normality, and I was perpetually dismayed and angry. She asked me to cease operations, which she was perfectly within her rights to do to protect our family.

But I couldn't do it. I knew what everyone who's in this fight knows — the Gender Stasi never forgive.

I could never be confident of a having a job again until the entire gender ideology movement, which has caused so much misery, was burnt to ashes.

Even if I had been prepared to recant or keep my mouth shut, it wouldn't do any good because my heresy was out there and would never be forgiven.

I could never be confident of a having a job again until the entire gender ideology movement, which has caused so much misery, was burnt to ashes.

Even if I had been prepared to recant or keep my mouth shut, it wouldn't do any good because my heresy was out there and would never be forgiven.

I was fighting for women and children, sure, but also for my reputation and my ability to make a living.

With my marriage now over, I left the family home and moved into a modest flat. It had a nursing home for old people to one side and an overgrown, neglected graveyard behind it — which is a little too symbolic of my situation for comfort.

Adapted from Tough Crowd by Graham Linehan (Eye Books, £19.99) to be published October 12. © Graham Linehan 2023. To order a copy for £17.99 (offer valid to 15/10/2023; UK P&P free on orders over £25) go to mailshop.co.uk/books or call 020 3176 2937.

[ts1989fanatic]

Taylor Swift's fans are renowned for their loyalty and dedication.

Known colloquially as "Swifties," they sell out stadiums in minutes; spend weeks creating intricate outfits that pay tribute to her albums; comb through her lyrics to find Easter eggs and secret messages.

Back in November, the fandom received national attention for taking action after Ticketmaster bungled the Eras Tour presale.

The backlash was so loud and so fervent that the Department of Justice launched an antitrust investigation into Ticketmaster's parent company. The power of Swifties became clearer than ever.

Indeed, the sheer passion of Swift's fans has helped make her the biggest pop star in the world — but that doesn't grant them absolute access to her life and personal space.

Recently, Swift obsessives have been exhibiting overzealous — and frankly concerning — behavior. Videos have circulated online that show swarms of people camping outside her home in New York City and Electric Lady Studios, where she's been spotted working in between tour dates. Other clips show fans chasing her car down the street.

It's one thing to wait for hours in the pouring rain to watch Swift deliver a spectacular concert. That's her job. It's another, more sinister thing to wait for hours on the sidewalk, just to film her car entering her home garage. That's her life.

Swift has been candid about fending off stalkers throughout her career, making this behavior particularly egregious for anyone who claims to care about her well-being.

"My fear of violence has continued into my personal life," she wrote for Elle in 2019. "I carry QuikClot army-grade bandage dressing, which is for gunshot or stab wounds. Websites and tabloids have taken it upon themselves to post every home address I've ever had online. You get enough stalkers trying to break into your house and you kind of start prepping for bad things."

This is not to say that Swift's most fervent fans are all stalkers, but it's easy to see how this behavior could be triggering for someone who's been stalked. And as Swift said in her "Miss Americana" documentary in 2020, "There's a difference between 'I really connect with your lyrics' and 'I'm going to break in.'" Some Swifties clearly need to be reminded of where that line is.

This is also not the first time Swifties have overstepped. Some fans have been known to harass members of the LGBTQ community for analyzing Swift's songs through a queer lens. Others have sent insults and death threats to music critics for less-than-glowing reviews of Swift's music.

Of course, this behavior isn't unique to Swifties. But Swift's lack of admonition is uniquely strange. She has marketed herself as someone who's not afraid to speak up to defend her values, someone who has explicitly condemned homophobes and bullies in her music.

Swift has also said she's proud of her affectionate relationship with fans. She has invited Swifties to her Nashville home for album listening parties; sent personalized notes to celebrate milestones; donated money for college tuitions; protected concertgoers from aggressive security guards.

Unfortunately, a healthy relationship cannot be sustained with affection alone, be it interpersonal or parasocial.

At the risk of sounding like a wannabe therapist, constructive feedback is essential for growth — and when someone you love disrespects your boundaries, it's not constructive to say silent.

This is something that Phoebe Bridgers, Swift's friend and collaborator, knows all too well.

Although Bridgers experiences fame on a vastly different level than Swift, she has also been subjected to abuse and entitlement at the hands of "people with my picture as their Twitter picture."

In a March interview with Them, Bridgers said she was "bullied" in the midst of a speculative frenzy about her dating life — while she was on the way to her father's funeral.

"I've had people take more than I'm giving, and I'm giving a lot," Bridgers recently told the Wall Street Journal. "I'm pretty fucking transparent, because I would value that in someone whose music I liked when I was a kid. Seeing any representation of any feeling and anything true was awesome to me. To be punished for that is so dark."

"There's a higher chance that you'll meet a fan that you hate than a fan that you love," she added. "You're way more likely to be confronted with someone who just violated your privacy."

If these quotes rub you the wrong way, you may be the problem.

Connecting to a person's music does not give you the right to violate her privacy, and Bridgers isn't afraid to draw that line. I wish more musicians would follow suit.

Ahead of Bridgers' final performance at the Eras Tour on Sunday, I hope Swift is able to absorb some of her bravery and wisdom. It's OK to criticize people for bad behavior — and the fans who stick around are the ones worth keeping.

ts1989fanatic

Even the media can get it right on occasion, the recent behaviour by some so called swifties is bordering on STALKING and needs to stop.

Unless we all want to go back to why she disappeared again.

[spicy--meatball]

ranking 550+ music genres: PART 1

i lied, this is happening before thursday. i plan on having this be three posts a week (tentatively wednesday, friday, and sunday) so i have time to listen to each genre and give my thoughts on them. i originally planned for this to be 10 genres in one post once a week, but considering how much ive written for this post im going to reduce it to 2-3 genres per post because im only allowed to post ten audios per post lmao.

one more thing before we begin, obviously im not a music expert. i make mistakes and am sometimes uninformed. if you feel like theres a correction to be made about something i said, i'll hear you out, just dont be a dick about it.

anyway, LETS BEGIN!

(1) 16-Bit

i used to listen to a lot of 8-bit and 16-bit music when i was in middle and early high school while i was writing or drawing. i understand how this music sparked some creativity in me back then, its generally whimsical but highly variable in mood.

theres also a lot of charm in the creativity that comes out of the limits akin to those that music-makers back in the 80s or 90s had when making video game soundtracks. there are sometimes other instruments, like electric guitars, more modern synths, piano, etc, but they mix well with the square, sine, and triangle waves used in this type of music.

that being said, while 16-bit is charming, it is not a genre i would listen to regularly, so it is going in the "i would not listen to this regularly but i respect it" tier. (be prepared, theres several weirdly specific tiers like this).

16-Bit song recs

(2) 2 Tone

based on the genre's name, i expected this genre to be similar to 16-bit. i was very wrong! this is not even remotely close to 16-bit. this is music i would expect to hear while watching a sped-up, comedic clip from the 80s of some guy who stole something silly from someone and is now running away from the cops. the audio would hypothetically be sped up too. think that one scene in A Christmas Story where ralph's bullies are chasing him down the street and his younger brother is struggling to catch up.

apparently "Our House" by Madness is 2 Tone? i hear this song regularly at work. that was a surprise to click on. though this song differs a lot in vibe from the songs i described while listening to previously.

i have yet to figure out why this genre is called 2 tone. i could look it up but that kind of ruins the fun of trying to form a critical thought. at the very least, i can say this genre sounds similar to ska. i still cant believe Our House is mixed in with all these songs.

anyway, "pretty good" tier genre.

2 Tone song recs

(3) Acapella

i cant be the only one whose only exposure to acapella so far has been during december when pentatonix pops up everywhere. its impressive what people can do with nothing but vocals.

i dont have much else to add unfortunately. "i would not listen to this regularly but i respect it" tier.

Acapella song recs

i love lady gaga and i appreciate the acapella rendition these guys did.

the tiers themselves as well as my rankings of each genre are subject to change as i see fit, but this is how it stands as of now. stay tuned for the next post!

[lanternburning19]

I've always considered the main themes of 1989 to be freedom, the recklessness of youth, confidence, letting go of your past traumas, and coming into your own.

These themes are highlighted strategically in three different points on the tracklist.

Track 1 is Welcome To New York. This is the opening number, the one that sets the scene for the rest of the album. The first synth notes mimick the sound of glittering lights and the first line is optimistic "Walking through a crowd, the village is aglow." This is very similar to the opening of Red with "I'm walking fast through the traffic lights/ busy streets and busy lives/ and all we know is touch and go". However, State of Grace opens as a warning: this story is tragically doomed from the start. On the other hand, Welcome To New York is bright with the possibilities of youth. And the lines "When we first dropped our bags on apartment floors/ took our broken hearts, put them in a drawer" let you know exactly what is about to happen.

The midpoint of the album and the lead single is Shake It Off. As a lead single, this song was a fresh start for Swift. The Red album painted her as a lovesick, heartbroken, and sensitive young girl who had taken a tumble into the cusp of adulthood in all the wrong ways. Shake It Off was a new sound and a new theme. Taylor said about the song ""rather than writing a song that was victimized in nature I wanted to write a song that was joyful and give people way to cope with whatever knots of ridiculousness life is doling out to them but also makes them want to dance." The song did exactly what a lead single should do. It hit big. It resonated with millions. Even though the song is very fun and youthful, it appeared to the general public as a more mature take on the same subject than previous songs like Mean and 22. As a lead single, Shake It Off let listeners know that this new album would be about freedom and fun and doing things on your own terms. This theme is further emphasized in the music video for the song. A past common criticism of Swift was that she can't dance. The music video is Taylor basically saying "Yeah, I'm bad at dancing, so what? I'm going to keep dancing because I enjoy doing it." Taylor said herself shortly after the song was released "If they don't like you for being yourself, be yourself even more." As a midpoint on the album, the song is a tonal shift in storytelling, letting you know that a metamorphosis is occuring.

The final point where these themes are highlighted is the end of the album, both on the standard version with Clean and the full version with New Romantics. Clean is moreso about letting go of past traumas and finding freedom in change. The lyrics "I punched a hole in the roof/ let the flood carry away all my pictures of you" invokes imagery of embracing pain head on and then releasing it. The song is cathartic, leaving the listener with hope for the future. Taylor herself made it a point to talk about the meaning of this song every night on the 1989 World Tour. "You are not the opinion of someone who does not know you or care about you," she told her audience. This links back to the message of Shake It Off.

The other (in my opinion, "real") ending to this album is New Romantics. The theme of this song has been compared to 22 and Shake It Off, but totally is a little darker. The song embraces the chaos of youth. Lines line "We cry tears of mascara in the bathroom" and "We need love/ but all we want is danger" in the verses acknowledge the hurt a young adult can experience. But the chorus spins it into an optimistic point of view: "Every day is like a battle/ but every night with us is like a dream". New Romantics perfectly balances the pain and confusion and drama felt on one half of 1989 and the freedom that comes with self-discovery felt in the other half. New Romantics says that your early 20s are simultaneously the best and worst time of your life. Life is going to be messy, but you don't have to let other people make it worse for you. Surround yourself with people you love and embrace every fleeting moment. The song, and album, ends on the line "the best people in life are free", summing up the theme of the entire theme in one acapella moment as all the shimmering production fades away.

Coincidentally, these three/four songs all maintain similar marking points during the 1989 World Tour. The tour and live performances are another avenue to explore the themes of an album, and the 1989 World Tour continued to do so perfectly. The opening numbers of the show are Welcome To New York, followed by New Romantics. These numbers let the audience know that the rest of the tour is going to be about fun and optimism and stories of youth. The midway point of the setlist is Clean. This song is performed during the most intimate part of the show. Flying a story high on an extended stage to get eye level with the back of the venue, Taylor just finished an acoustic song and launches into a speech to inform Clean. The laser lights and band and back up dancers are stripped away, and it's just Taylor and us. 1989 is sometimes criticized for being overly produced and synthetic, but the live performances of Clean show otherwise. It's significant that this song was chosen to get this treatment; Taylor wanted this song and message to stand out for a reason. The show ends with the bombastic spectacle that is Shake It Off. Taylor is back on the propeller stage, but instead of crying with her audience, she is dancing and celebrating. Her dorky and dramatic moves are on full display as 50,000 people sing-rap the bridge off key and have the time of their lives. This is what 1989 is all about.

[bluebudgie]

So I have this long-standing tradition where, after I finish a video game, I sit down and listen to the soundtrack outside of the game's context.

It serves as a sort of "conclusion" to the experience and simultaneously helps me evaluate the game as a whole a little better... After all the soundtrack is often what sticks with us long after we're done actively playing a game. It preserves the memories we've made along the way.

That means: I have finally found the FF Sixteen OST online in its entirety and could finally follow through with this tradition. (Debatable how much it applies considering I didn't actually play the game myself, but it felt necessary.)

The final missing piece to the pissbaby gamer rage essay. Significantly less raging this time, though.

It's okay. I don't love it. There's worse.

I had very unfavourable opinions of the OST during the game itself which might have been due to the overall pacing issues, where large stretches were filled with the same hub music and then everything bombastic all happened at once and either side of the coin was exhausting in its own way.

I still can't believe there are over 200 songs in the OST when I could have sworn I heard like. Maybe 10 or so during gameplay. A lot of it is very same-y. A large part of the OST can be split into "loud choir explosion" or "sad piano". There isn't a whole lot in between. Good for people who like it, not so much for me.

Which means my biggest issue is the very subjective "I just don't like the style". It's not a bad soundtrack, but I'm just really not a fan of the direction the music took. The battle themes are over the top (fair for the equally over the top DBZ kaijū battles, annoying with 3 wolves that show up on the side of the road). The calmer songs don't really hit right for me. No chord progressions or melodies that hook me. Unfortunate. I did however appreciate the electronic influences in the music when the alien baddies were on screen. (in this fantasy game that is based on medieval reality and that's why people of colour cant exi-)

I have also since learned that there isn't one acoustic guitar song that plays for 20 hours straight. There are like 6 or so that all sound the same. I don't know if that makes it better or worse. I hate them all. (I don't hate acoustic guitars. It's these songs in particular.)

That said - I was curious about which ones are people's favourite tracks of the OST and went checking those out in particular. Consistently in people's tops was Ascension and I can't deny that one's been plagueing (semi-endearing) my memory a bunch the past days. Probably the theme that stuck out the most to me while watching the game. If not the entire theme, then at the very least That Violin Part. If you know, you know.

You know what. If you don't know, here:

(footage stolen from here)

Like damn. Good rhythm going on there with the off beats. Also fits the relevant character nicely in terms of mood. And I like that the battle phase before this one has a more low-key version of this song playing before it goes into this full ham version.

I just kinda wish more of the battle music had been a bit more... this. A bit more... subtle. Like yes it slaps hard but this song legitimately feels calm in comparison to the other battle tracks. This drives me nuts.

There's one other song I keep getting stuck in my head which is one that plays fairly close to the end (in the final... "dungeon" (cutscene? sequence? QTE battle?)). I figured out today that I don't actually really enjoy listening to the song on its own but I like it in-game in combination with the voice perfomance. There's an interesting dissonance in it that blends super nicely with the voice acting. (I'm being held hostage by the game's voice acting. It's unfortunately way too good. Voice actors are once again holding too much power over me.)

Other than that... I have one final criticism. The prelude theme. We must. Leave it. Alone. Enough. It's fine playing once as a gimmick somewhere in the game (I do genuinely like the menu (pause screen?) arrangement) but having it woven into what seems like every 5th song feels like someone is smacking a sign into your face that screams "YOU ARE PLAYING A FINAL FANTASY GAME." Seriously it's unbearable. (Also I did take notice of the FF1 overworld theme being rearranged into a battle theme for the final segment of the game. I don't know why, but fine. Not complaining about that one.)

Overall it's a solid "mh" from me. Not the worst OST we've had in the series (thirteen trilogy exis-COUGHAGFNJKN) but definitely on the lower end for me. Not of bad quality, but not my cup of tea at all. Dark Souls III OST executed the epic orchestra choirs better somehow. More interesting composition. Spaced out better throughout the game. Idk.

Welp. Back to getting haunted by voices and violins now o/

[mdhwrites]

How Did I Get into Analysis?

My brother and I talked a bit a couple days ago about the era of online review that we were first introduced to analysis with. We JUST missed AVGN but we were neck deep within the wave of criticism that came afterwards. To us, it wasn't the style pioneered by Cinemassacre (who unfortunately I never got into) but the style of Channel Awesome who back in college, almost a decade ago, I was HUGE into.

But that's not technically how I began. It's also definitely not what I prefer nowadays, nor for the past half decade at least. Before I actually get into the fun background of what caused me first to start using my critical eye, albeit by no means honing it, I just want to let you know some of the video essayists that I do listen to nowadays in case you want to see my inspirations. (This part is longer than I expected so if you want to skip to the silly story, just jump over to when I use bold text)

Linkara: Of the old Channel Awesome style, I think Linkara is potentially the best that style can be without morphing into something different. I admittedly am not a huge comics person but I've relistened to a lot of his coverage of the bigger events a lot of the time and he's just really good at what he does while being genuinely funny and unapologetic of the style he uses. He never got defensive unlike someone.

Todd in The Shadows: This is the ONLY person I listen to regularly still from back in those days. I drop everything when I see a new TiTS video. You might think that makes him beat Linkara in the style but it's not. He hasn't technically altered his format drastically since he began but I would rarely call him a reviewer. It's not even the majority of his content nowadays. I would put him more as a documentarian and as someone who loves himself some history, I genuinely love what he does. Speaking of documentarians though:

Defunctland: If you have watched any video analyzing theme parks, you've probably heard about this channel. He goes over the history of no longer running theme parks, television shows, etc. For the Disney fans in my audience, I highly recommend his video on the Disney Channel theme but honestly, all of his stuff is good.

Noah Caldwell Gervais: Before I move away from the historical essayists, I would be remiss to mention Noah. I don't watch his travelogues but he's expanded my knowledge on so many game series that I will never touch due to my own tastes. It's a little outdated now but a real highlight for me is his Call of Duty videos where he actually examines the stories and themes of the games and their single player modes and isn't uncritical of the franchise but also isn't blindly shitting on it either. He's a fan for a reason. Another akin to that is his more recent Gears of War series.

Folding Ideas: You can actually see on my blog when I got into this channel. The whole "Put a pin it it?" I did in a blog or two? Yeah, that's straight up just stolen from his 50 Shades of Gray reviews. He does a lot of stuff on scams, including crypto, and is very good.

HBomberguy: The newest addition to my theoretical playlist, I got into his stuff with the video about the Ooph sound and its origins. Just a solid essayist with good delivery and interesting topics.

New Frame Plus: I feel bad for almost forgetting about the ever delightful Dan Floyd. I followed him after he moved on from his previous channel and like 99% of what I know about animation comes from him. When I criticize how Amity adopts a silhouette that's a bit too close to Luz's in S2? Yeah, that's only possible for me because of his video about the subject. He also has great credentials for talking about this stuff as an ex-Pixar animator who has done lots of other work in television, movies and even does animation in games nowadays. He's also a delightful Let's Player who is one of the few of those I still follow.

That went on way too long.

So what actually started me on all of this if not Channel Awesome? What first dragged me into overthinking everything? Besides the fact that my brain already had a hard time ever just shutting up of course. Well that answer is shockingly simple if not extremely embarrassing:

The Bronalysis community. The Brony Analysts. That is not a joke. I actually have a bizarrely vivid memory of one of the first proper reviews of anything I ever watched being a review of the fan made episode of My Little Pony featuring a blind filly who's talent had to do with snow.

Which also highlights why it's embarrassing... But does make a sort of sense. My Little Pony was the first time I was ever part of a fandom. It was the first time I got that deeply invested in a work to even want to discuss it in depth with other people. Before then, I never really had an urge to go and seek out such content because Youtube for me was mostly for sillier things like silly videos about Naruto, AMVs and Dragonball Z abridged. Admittedly, part of this comes from being later to the internet than some of my peers. I was in middle school when I started understanding what the internet was and didn't have my own laptop until High School. A lot of it was just that I didn't use things like Youtube much, even while still being the same sort of nerd I've always been.

And what do I think looking back on those early days? I mean... They were ROUGH. And I by no means was immune to it. I've stated before that part of why I don't do individual episode reviews is because I eventually found them kind of tedious but more than that: Shallow. It's hard to have something deep to say about every episode of a work unless it's a genuine masterpiece. I've been watching Frieren with my brother and while I adore that show, I think it is genuinely incredible in almost every way, there are still episodes of it where I would go, "This is good. To say more would just be me repeating statements I've already made about the work."

Recap and snark was the name of the game back then though. It's why they were called reviews after all because that's always been easier than critique or a deep dive. A bad or lackluster review is just easy to make since you lay down what the plot of the work is, snark on a few elements and then give a recap of your thoughts at the end. It's probably part of why some people like Doug Walker used it as much as a vehicle for their own talents as comedians and writers rather than just how good of an analyst they were because, well, that's what they were more passionate about but they also did reviews.

This isn't to say that there isn't still snark or comedy or even some amount of personal validation to more recent essayists. The video I recommended for Defunctland is genuinely a documentary and also has him use his worries about if he'll be considered one or just some Youtube guy someday as the framing. One could mock him for that, he even fears it in the video, but the difference is that even if you ignore that component, ignore his personality, the information and depth of knowledge and research on the topic is good enough to still warrant watching the work. That wasn't always something you could always say about analysis a decade ago, not the big channels at least. A lot more of them were personality driven, not driven by how good the reviews were as reviews.

It's all just interesting to look back on for me, especially while I've stayed casual in my analysis. I may write full on essays at times for a blog but I am no video essayist. I do not do the sort of research that's required for such things which does make my stuff much more opinion based and what advice I personally feel is good without the depth of wisdom to be an authority on it. At least I don't plagiarize though? XD But I have always said that I analyze things second to me being a writer and I still hold firm to that so I'm fine with that being where I keep things, bare minimum for now. I care much more about being seen as a true storyteller, rather than simply a delusional fanfic writer, than I do of ever being seen as some grand critic.

Just felt like sharing tonight. Thank you for reading and see you next tale.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.