#i make the best decisions ever

[sleepless-crows]

time to get my hopefully 1 hour of sleep :)

[nachobsns]

Hello - I was impressed and extremely relieved by what you wrote in the post about the cult mentality of the Left RE Israel and accusations of genocide. You mentioned that you bought into the mindset until recently. If it's all right for me to ask, what was it that helped you break out of it? (Please feel free to delete/ignore if you'd rather not answer!)

thank you!! and no worries about asking— i think i put something in my pinned post about how people are welcome to send asks about this stuff, although my story isn’t super interesting. i fell down the typical online rabbithole, a couple weeks after october 7; i knew what had happened, at least vaguely, but the posts trickling onto my dash were all about the (undeniably tragic) loss of life in gaza, with little to no acknowledgment of the hamas atrocities that had started the war, so my narrative was pretty one-sided from the beginning. it just continued to snowball as the months went on and people became more radicalized, calling into question the reality of the 10/7 attacks and the humanity of all israelis. i never went all the way down the pipeline to full-on endorsing hamas or justifying their attacks, at least on a personal level, thank god, but i would reblog other people’s posts referring to hamas as a “resistance movement” and calls to boycott starbucks and mcdonald’s and condemnation of the “zionist media” etc etc etc. what pulled me out of it wasn’t any one thing— if someone had directly called me on my flawed logic and antisemitic biases while i was in this mindset, i doubt it would have done much, just reinforced my belief that i was on the “right side of history” and zionists were aggressors who couldn’t be reasoned with. it was mostly just passive observance and a slow exposure to other perspectives. i’m pretty sure the first post that led me to question my thinking was an ask on jewish-vents, which popped up on my dash in like, late july. this led me down another rabbithole, first scouring every single post on jewish-vents, then moving on to more popular jewish blogs that i had seen on “zionist blocklists” (applesauce42069, xclowniex, and spacelazarwolf were probably some of the blogs that influenced me the most, though i told myself i was just hate-scrolling at first, lol). i felt incredibly guilty seeing all the harm the movement i was a part of had caused to random jews and israelis just trying to live their lives and i realized how it went against everything i believed about how minority groups should be treated. from there, the aspect of actually undoing my thinking and changing my behavior for the better still took several weeks. denial of jewish indigenity to the levant in the face of tantamount archeological and cultural evidence was the first to go, as well as any ambiguity in my feelings about hamas. after that, it’s mostly been a slow process of redefining the idf’s actions from a “genocide” to a “war.” i still believe that what’s happening in gaza is unconscionable and horrific, and that too many innocent civilians have died, but i also understand how difficult it is to fight against a terrorist group that systematically embeds itself in civilian populations, and that the ratio of militant to civilian deaths is incredibly low compared to most urban warfare. i quietly deleted my old blog in early august— if i had directly engaged in harassment against jews, i likely would have kept it to make amends to the harmed parties and put a face to my actions, but as was, i had just contributed to the larger atmosphere of antisemitism on this site, and i felt uncomfortable knowing that i had a blog full of sentiments that no longer matched my values and beliefs. i decided i would be better if i took my endorsement out of the equation entirely, because when you’re looking through the notes of a post, it obviously doesn’t matter if someone who’s reblogged it no longer agrees with what was said— their notes still count as tacit approval, and i did not want approval of this “activism” attached to my online presence. i still have unwanted kneejerk reactions that crop up sometimes, particularly around the fundraiser posts from people “in gaza”; even though i know logically that they have all the markers of scams, there is still a part of me that really wants to believe i could help.

[witchlingcirce]

Me trying to explain to everyone that Will’s curse DOES make sense and it isn’t that stupid

[stil-lindigo]

the candle.

a comic about rediscovering passion and recovering from burnout.

creative notes:

[oneluckydragon]

"Suddenly the world was gray and dull and my heart was so heavy I felt like I couldn’t move, let alone make it back to Treasure Town. But because of Echo’s last wish… I was able to keep living.”

--- --- --- --- ---

SORA : (Partner)

Abilities: Justified / Inner Focus

Nature: Gentle / Hardy

Moveset: Aura Sphere / Metal Claw / Poison Jab / Dragon Pulse

[greywardenmonkey]

rook and solas...narrative foils? rook? a narrative foil? to SOLAS? rook? to solas? ROOK? ROOK????

[katnissmellarkkk]

i’m so not trying to be mean but i can’t believe anyone actually thought haymitch wouldn’t be cast as a young woody harrelson. there is absolutely no way a young haymitch was ever gonna be anything but white. i know i joked about it, but it was a joke.

yes, haymitch, katniss and gale are poc in the books. canonically. but that went out the window in the movie universe in 2011 when they casted all white people. there was never a chance they would sway from that now. no one affiliated with the movies will even admit katniss wasn’t white. suzanne collins herself won’t admit it. and majority of people on the internet, outside of this site and small pockets of the fandom on other apps, all believe katniss/haymitch/gale/etc. were always meant to be white.

i don’t agree with it but until they reboot the entire series, these characters will always be white. and since the films practically walk on water in the mainstream media’s eyes, we’re sort of stuck with what we got.

[literallyjusttoa]

I’m in my feels about Leto rn.

She a mom!!!! You don’t understand she’s a MOM!!!! And she was left all alone after the titan war (most titans were banished to Tartarus) and then she fell in love with this guy with all these red flags but they were genuinely in love!!! They sang songs and talked about deep things and Leto and Zeus LOVED EACH OTHER!!!!! And then she was made to suffer so much for it but she never took any of it out on her kids, and then they were basically taken away from her by Olympus!!!! And she was alone again!!!! But she loves her kids so so much so she built a safe place for them on Delos to come home to!!!! And she knows she can’t protect her kids from the monster the man she loves has become but that doesn’t mean she doesn’t try!!!! Leto tries so hard!!!!! And both of her kids fucking love her with all they have!!!!!!! Family is so important to all of them despite the fact that one member has become a horrible dickwad!!!!! They love each other!!!!!!!!! AHHHHHHH!!!!!!!!

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[primus-why]

I Feel TFOne Could've Handled This Better...

Hot take but I feel like folks have been really generous with the take that OP was unable to find ~the perfect words~ in the heat of the moment (and thus should be given some grace) when he told D to stand down and "not be like Sentinel"... namely cuz I don't feel that the narrative supports this?

Like-- after all is said and done, OP doesn't reflect on that part of their split. He doesn't have a moment where he seeks validation or voices his regrets over the choice of his words, it's actually cut-and-dry. The narrative (as it stands) supports that OP saw D-16 acting up, so he called him out and stood on business, down to the last scenes where he's basically like "yeah it's a shame but y'all knew I had to do it to 'em."

It didn't have to be much! I'm not saying to absolve Megs, just show OP looking at things from a different perspective/contemplating a bit on that tough choice and the morality of the moment. Some examples of what I wish we had:

B-127 straight up blurting the obvious by later chatting with Orion like, "Wait so you told your best friend that he was acting just as bad as the guy who enslaved us for our entire lives and was torturing him like an hour ago? Oof. Seems kinda harsh." Then have some of OP's regret show on his face.

OP asking Elita-1 after Megs is banished if he did the right thing. Have Elita back his choice up, saying, "You should have seen what he did after you were... gone. It was terrifying. I know it was tough, but you made the right call." OP is grateful for the support, but a conflicted look still flashes across his face before he steels himself to look out towards the horizon... and the future.

Have OP walk past other mechs/former miners who didn't go with the High Guard saying stuff like, "Wish I could've given Sentinel a piece of my mind!" "Yeah, but I'm glad he's gone for good." "Ugh I miss everything." "Oh, it was crazy! Megatron picked him up and then he rrrrriiipped-- oops, hey there, Mr. Optimus... Prime... sir?" And have OP wave hello, looking a bit sick when they leave.

Post-credits scene with Starscream going on and on, asking Megs when they'll be back to teach the upstart Prime a lesson. Megs grabs his face to shut him up. "Patience, Starscream. The Prime thinks I'm no better than Sentinel... but I'll show him. He wants Iacon? He can have it. In the meantime we'll take the rest of the planet! Then I'll come back, crush Prime under my heel, and we'll take Iacon too. Sentinel's reign will barely be a footnote, because I'm about to become Optimus Prime's worst nightmare." The vocal performance would really need to sell this-- like picture Megs saying something like that from a place of anger and hurt, not so much a place of genuine evil or malice.

Basically instead of Orion's assertion being backed up as black and white/good vs bad, I wish we had some different opinions/reactions from the characters sprinkled in there. Like you can't tell me out of allllll the miners who weren't strong enough/willing to go with the High Guard and ended up sticking around that NONE of them were like "eyyo honestly?? Kiiiiinda glad Sentinel is dead. Wish I could have helped, tbh." like come onnnnn...

And you can't even argue that he's not an active threat-- I don't think everyone would see things that way! It's not just about the threat he physically has, but the threat he represents and is very likely to act upon if given the opportunity! He has a proven track record of not only being sneaky and conniving, but also capable of dealing some serious damage/killing people bigger and stronger than him, plus he has the backing of the Quints. All he'd need to do is wriggle his way out of jail and run off to his sponsors, then he'd probably be back to hurt more people! (If the Quints didn't just kill him out of incompetence lmao). There's a lot of "ifs" here, but I think it's a valid argument that not everyone would agree on what is the right or wrong way to handle Sentinel once he was down long enough to, like, do something about him.

I feel the situation needed a bit of nuance. In some way I wish they had kicked the can and had D and Orion bicker while Sentinel escaped, then have D get frustrated enough by the loss of Sentinel to point fingers (and his fusion canon) at Orion, who then falls and becomes OP. (Megs could still show some of thar emotion/remorse right after he does it too.) Not only would this open the door for a sequel, but tbh the Quint might have just killed Sentinel anyways and sought to deal with the miners uprising themselves lol. (Maybe that could have been an after credits scenes too instead of the B-127 bit??)

Would love to see a moment in a sequel where they have a calmer moment after arguing for a bit. Have OP mention how Megs was out of line, that it hurt and even scared him to see him act that way, and Megs can quietly point out "you said I was as bad as Sentinel... is that really how you see me? After everything we went through?"

Then OP can fumble the bag again lmao like "D, I... I'm sorry, that didn't come out right... but you still took things way too far..."

"Why am I not surprised-- your opinion is what matters the most! Maybe that's why you became a Prime, since you're so good at acting like the world revolves around you--!"

*gets interrupted by someone else before another yelling match ensues*

[deoidesign]

Hello! I just discovered your blog and I immediately became captivated by your webcomic, but I'm unsure where to read all of it. I know it's on Webtoons, but I can see it hasn't been updated for a while, and you still post about it.

Are your physical novels just prints of the webcomic? Are they a continuation? Is the story complete? Thanks in advance!

Hi there!

Glad you found me and are enjoying my comic!

It's only on webtoons, and the story is not complete yet! We're 2/3 of the way through right now. It's currently on hiatus, and it's scheduled to come back in about 2 months!

I'll explain why it's been so long if you're curious, but also for my followers who might also be wondering about it under the cut. Sorry, it's pretty much just me complaining haha

I took a month off I took 2 months to get the books printed I took a month to prepare my next comic and I took 2 months to write the rest of the series (I knew the character arcs I wanted, but not the time periods or mysteries!!!) I've been working on actual episodes since then

I had to take some time off because of some pretty extreme burnout due to the sheer amount of work it was to draw over 800 pages and write 6 complete stories in a year and a half... I was getting sick almost weekly due to the overwork, it was really really bad honestly. I was having to work 60+ hours every week just to keep up...

The nature of the comic itself is also difficult... Each of the arcs is a complete, self contained story which can be read (ideally) without context, and my arcs need to be about 10-13 episodes each... And since I have an exact number of episodes to work with, it's even harder.

It takes a ton of planning and a ton of refinement, and working week to week with no breaks I was forced to put out second or even first drafts, so I just wasn't happy with the work I was doing... And to do that for the rest of the series? I wouldn't be proud of the work I did.

Plus... To be entirely honest, webtoon has treated me quite badly IN MY OPINION... They deprioritized me before I launched (I had to beg for more promotion, I'm not exaggerating), they outright denied me the opportunity to even ask for a raise, I don't make any money on fast pass and they pay me less than my partner makes working at trader joes. My first editor left me completely hanging, my second editor (who I loved) was fired... And they told me I wouldn't get a third season before my first season even finished. So it was just repeatedly completely demoralizing.

I'm sorry it has taken so long, it'll have been 10 months by the time I come back. But I realized... I won't get promotion either way. I won't get more episodes either way. I won't get more money either way. So to finish everything, to make it feel good, to make it something I'm proud of, I chose to take longer to make it better.

I am fully aware I will lose a significant amount of my readership for this and it might genuinely affect my career moving forward. But it's what I had to do! So I'm sticking to my guns on it, and I'm confident long term it'll be worth it. It never could have been this good if I didn't take this much time.

[rabarbarzcukrem]

Not to defend Lu Guang's hypocrisy, but.

Can you imagine losing your best friend and deciding not to save them, knowing that you have the power to? And not only making this decision once, but day after day for the rest of your life? Being aware that you could go back at any given moment, and still persistently choosing not to? Can you imagine ever moving on? Living with yourself? Going about your day with the knowledge that not only did you let them die, but you're also continuing to let them die at all times by not doing anything? Can you imagine not going insane?

[shiresome]

YOU CANNOT PRY MK VS DC FROM ME

[fleshadept]

since i played disco elysium the only way i've been able to describe the feeling it instills is "shrimp emotions" because i really just have no words for it. none do it justice. melancholy, catharsis, hope, regret. there's so much and it's so interwoven

[katemagic]

we truly do need to talk more about how fucking insane achi is like okay yes karan is karan but achi literally moved in with the first person he ever dated after TWO (2) dates and was like wow 10/10 best life decision I ever made I'm so glad I did that I love my boyfriend

not to mention that he bought a ring and then presumably carried it around with him???? just waiting so that he could propose after karan did like. he literally bought a ring. after dating him for like a couple of months ????? maybe ????? absolutely fucking unhinged they're perfect for each other. who does this.

[cyanide-sippy-cup]

Thinking about how Ninjago S2 is probably one of my favorite pieces of television I've ever watched. It flows so well off of season 1 and allows those arcs to spread and grow.

It gave us the Mega Weapon, the Stone Army, the Overlord, lore for the Destiny's Bounty, let us actually meet Zane's dad, Misako, cured Garmadon, gave Lloyd his best arc (which the movie pretty much pulled from and the show still does), still is the Overlord's best defeat,

The characters actually have interesting dynamics with each and every one of each other that allows them to truly feel like a found family with history (and both Jay AND Kai get to react to things that happen to Nya, not just her Yin),

We got one of my favorite 3D-animated fights of all time,

And let's be honest, the show peaked right here (in a positive way).