#i mean i can't think of a better way

[lazylittledragon]

right now i'm very torn between "taking critique is important as an artist and it's not an attack on me personally" and "people commenting about my same face syndrome under my posts upsets me an unreasonable amount and i wish they would stop doing it"

[floralovebot]

i know there are only like five of us but i feel like garth stans really don't talk enough about how left out he feels with the titans. dick and wally are Best Friends. donna and roy are on and off again. dick and donna are too much to explain. on average, roy is close with at least one of dick's siblings. dick donna and wally all go on to be in the new teen titans. garth isn't Close with any other titans but the originals

and it's this thing where,,, it's not his Fault yknow? he's not mean or spiteful or creepy or anything that would warrant them not liking him as much. he joins in on their jokes, he risks his life, he shares his feelings, he does everything that he knows friends do. but just the virtue of him being atlantean and them being land dwellers ruins everything. he Can't spend more time with them, he doesn't understand their culture, he will always choose atlantis.

they'll always be his friends but he can never truly be with them or form deeper bonds. he'll always be the last one to know what's going on, the last one they call, a complete shadow and afterthought.

and sure there's a part of him that knows this, that feels bitter and lonely. but he can't even be that mad at them because he does the same thing. the titans are never his first thought, he never calls them first, he doesn't reach out and ask if they're okay, they're always the last ones to know what happened to him. the titans are such a huge part of his life but they're barely in it.

there's just something so inherently lonely about garth that i feel most dc writers don't understand. they just don't get it. they don't get what it's like for this boy who was all alone, never had parents or a family, suddenly being taken in and having to act like he knows how to be a son, a friend, a partner. meeting kids his own age and wanting to bond with them so bad, having to watch as they all get closer to each other and leave him behind, not being able to do anything about it. never being taken seriously, always the last choice... garth man.....

[child-of-hurin]

Part of what charms and compels me in Jeyne Poole's arc is her reaction to her predicament. All the female POVs in this book are dealing with a lot of gendered violence, and they all deal in different but dignified forms... Jeyne is not a POV character and she is absolutely not dignified lol. She cries and begs, she is utterly helpless. But unlike most women in this book who are utterly helpless, she survives. It's frustrating how fans refuse to celebrate that, simply because there is no glory in it.

[wren-of-the-woods]

I've been seeing a lot of posts lately talking about how no one comments/reblogs/replies/etc anymore, and, as someone who comments regularly on a lot of fanworks, it sometimes makes me wonder if my efforts are worth anything. Then I remember how much happiness I get from comments on my own work/posts and how much the community of fandom can matter, and I remember the power that can be found in spreading joy instead of disappointment.

So -- to everyone who comments on fanfiction: thank you. You make the writing process worthwhile and so very rewarding. You make people happy every day.

To all the people who reblog art and gifsets and meta and anything else with enthusiastic tags: thank you. You make people smile and promote interesting conversations and make being on Tumblr so much more fun.

To anyone who sends people asks about their works, whether it's unprompted or part of an ask game: thank you. You give people reasons to talk about things they love and feel like a part of a community.

To the people who makes reclists: thank you. You give us more to read while showing the author how much their work is loved and appreciated, benefitting so many people.

To everyone who organizes events and groups and blogs and dedicated to fandom: thank you. You build community and love and excitement so effectively and it's wonderful.

To all the authors and artists who respond to comments and build community: thank you. You make people smile with your work and then again with your response.

To everyone who contributes to fandom and community in all the other beautiful, varied ways that I can't even begin to list: thank you. You are why we're here.

And, finally, to every writer, visual artist, gifmaker, cosplayer, maker of edits, writer of meta, or creator of art in any other form: thank you. Your work is wonderful and you make fandom what it is, regardless of who sees your art or how much response you recieve.

Keep going, everyone. You are a part of something beautiful.

[grumpysunfish]

Can we like. Stop projecting modern day western class discussions into mdzs. Or better yet stop talking about class altogether since so many of you are clearly ill prepared for it.

I love mdzs for how complicated and different it is from what I'm used to and seeing all of that get whittled down into the same old tired money/power = bad when it is so much more than that. It's a completely different system and culture. Western capitalist critiques isn't going to cut it people.

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[canisalbus]

Okay I just realised this but Vasco's two moles under his eyes reminded me of this old saying that two moles directly under the eyes mean you get bad luck in relationships. Intentional or not, this detail is a nice little easter egg to his relationship with Machete and any he had beforehand!

.

[marc--chilton]

i'm gonna sound insane just hear me out okay

when he sees me from waitress but it's hilson and the choruses are from different POVs from either side from the not-actually-unrequited love.

like. wilson, too nervous to even let himself imagine a relationship with house going well, only imagining terrible outcomes because they're both so awful to each other AS FRIENDS yet they've been friends for 20 years anyway, and really, what does that say about them?

but then there's house, who rarely ever lets people in one way or another, finding them boring at best and imbecilic at worst, yet is so soft hearted that despite his cynical and misanthropic nature, he falls so incredibly hard, so fast, he never stood a chance when it came to loving wilson. it's a rush, it's a terror, he's hooked on him forever, it's pitiful and he knows it but god even just feeling hopeful for a chance is almost enough for him

[t-u-i-t-c]

"You're looking for a place to die, aren't you?" "A place to die...?"

[somerandomcockroach]

@keferon OKAY BUT LISTEN YEAH I would loved if it was just fun ehehehe and sassy flirting with the demon no one sees pfffht, literally summoned a demon just to flirt with, and I guess it could have been going for a long time, just little strips with their funny adventures and then plot can go to the fact that he wants to give him a body and Shockwave would agree or that they just stay the way they are and just hang out like this together (Alo I remember that you wanted to put Ratchet (I keep writing Ratched instead of Ratchet buuuh) and Drift in it as another demon and their summoner thing whghweghgwe but I like how you made two separate stories for them that happen at the same time, okay I am actually PRETTY MUCH invested in this story, I like a lot how it goes and gets tangled and how mixes up with idw ideas and other stuff a lot)

BUT NOW that you changed it that way, you made a few more things that reader might be interested a lot in, like that promise he made and you mentioning that he will regret it, how their relationship progressively develops, plus the fact that Blurr was a frivolous slob gifted with dark magic AND how the tables turn upside dow and he get consequences for what he did in the most unpredictable way for him and how he surely changes in his behaviour, getting more and more concerned about his promise and maybe truly loving someone for the first time in his life and wanting to change something. And then figuring out that that same demon actually was a person before, someone he knew, someone respectable, kind, shiny, absolut sun of a person, who died (I am still on my knees waiting to know how exactly he died...) miserably to the point that he absolutely can't stand his life as a demon and NOT EVEN being able to kill himself!!! And Blurr was a pupil in his school, he saw him, he gifted him an ability to make his magic work for him, gave the freedom to live among everyone to all who was poisoned with this dark magic. OH WAITA HGSDHAG the thing that beastformers can't walk among transformers and the fact that dark spellers also could not, and how these events happen at a close times, OKAY so dark spellers got their kind of freedom thanks to Senator Shockwave (OH MY GOD what if Orion can see Shockwave and will recognise him right away COUGH) BUT I am wondering if beastformers will get some kind of an official declaration or some kind of school to be educated in and I wonder if Deadlock/Drift (I think after leaving he will change his name from the last episode...) will volunteer to be a teacher t be something more, or he will just end up with Ratchet wandering around the world, or maybe there will be a whole damn revolution where all monoformers and beastformers leaded by Drift go against the system, and maybe these events happen at the same time as a Senator Shockwave fighting for the rights of gifted... Okay I'm getting carried a little bit ahsghag excuse me... OH I GOT carried away A LOT I wanted to get back to the point that Blurr, now figuring out the past of Shocwave, dealing with all the events, dealing with what he has done and find a way to free them, at the same time STILL having adventures and fun since I'm sure he can be a good mood lifter to moody Shockwave and even see him in a really good mood since he is... well, not just a demon made of hatred but the wonderful kind of person in his previous life... (okay being carried away but what if Orion might declare the freedom to beastformers (AJHGAJHSDJAH OH MY GOD I IMAGINED JAZZ AS A PANDA HAVING A ROMAN WITH PROWL AND PROWL NOT KNOWING ABOUT IT OKAY SORRY) after seeing what it lead to after Senator Shockwave. And maybe Ratchet will be able to get his sign back freely after revolution will be successful or he will be forever blind just to be free and safe with his husband OKAY LISTEN I think it is obvious that I really like the thing you do....

[unclewaynemunson]

Thinking thoughts about Nancy Wheeler again. About how she was the most Teenage Girl ever, gossiping with her bestie while twirling her phone cord around her fingers and kicking her legs in the air. About how she lost everything that embodied her Teenage Girl self in one night: her virginity, her best friend, her carefree smiles and giggles. How she turned into a soldier, got consumed by guilt, and could never return to the youth that she lost.

[korrasamibottles]

Yeah Venom of the Red Lotus showed us how crazy powerful Korra is but The Last Stand had Korra transform the destructive power of a massive bomb blast into something regenerative in the culmination of one of the best character arcs I've ever seen. In my OPINION!!

[sysig]

is this where u take the requests? if not, apologies lol still learning tumblr, I WAS WONDERING IF MY VARGAS RELATED REQUESTOBER REQUEST COULD BE JAKE/NNY? i feel like jake/nny is SO looked past like its actually so cute, they could be doing anything THANK U IF THIS WAS THE WRONG PLACE SORRY MWAH MWAH X

Day 12 - Once you had one hole in your skin, you've had 'em all

[kuntya]

This may be a moment of weakness, but I'm starting to have more sympathy with female separatists.

"Women are people and deserve the same rights as you" didn't work. The first generation of men to see first-hand that equal rights means they won't get a wife/mommy/slave went hard right.

50% of marriages end in divorce. 70% of divorces are initiated by women. For every 2 divorced men who want to remarry, there's only 1 divorced woman who wants to remarry. 1/3 of men 18 - 24 haven't had sex in the last year.

Men are better off with you barefoot and pregnant. And they know it.

The incentives and opportunities for men to enslave women are just too strong. I don't know what to do about this.

[sledge-in-space]

John Seed is a comfort character for some people. Folks like to ship him with their deputies or craft redemption arcs for him.

There's nothing wrong with that, obviously.

But I just can't wrap my head around it.

There's nothing comforting about the way John Seed treated Joey Hudson. I don't understand why the ordeal she went through doesn't seem to matter to fans of his.

She was bait for the rookie deputy and nothing more, because she wasn't going to give in and join the cult.

He terrorized Joey and the rest of Fall's End, stooping to the lowest, most inhumane levels to get his way. Some even theorize that he hurt the "sinners" in his care just because he wanted to, for malicious, sadistic reasons that didn't have anything to do with the cult. At worst, some people go as far as to speculate that he raped Joey.

It's easy to see why someone might come to that conclusion. The way he acts is deplorable and he makes everything feel extremely personal, sometimes in ways that can be interpreted as sexually charged. He'll do anything in order to get his way because "no" is antithetical to him. He regularly flies off the handle, so much so that Joseph is threatening to cast him out. All the touching and getting right up in the player's face is so uncomfortable and obsessive (which is the point, but I digress).

So why does he get to be redeemed and venerated by fans? Don't his actions warrant consequences?

Are people willing to let him off the hook because he's attractive? Because he had a horrible, abusive childhood? Obviously he's got a lot more lore than most of the cast. Is that something people are interested in exploring for him over other characters?

I'm not trying to come after anyone personally. There's nothing wrong with liking villains and Jacob, Faith, and Joseph have also done terrible things to innocent people.

Which is like, fine. It's a video game.

And I know that John, like Joey, is a victim of Ubisoft's choppy, inconsistent writing and storytelling. Things got changed and swapped and cut during development that got us to where we are, with the story we have. Flaws and all, not like it was ever going to be perfect.

But in my opinion, I feel like the adoration for John does a huge disservice to Joey. People make thirsty edits of him while she's literally tied up behind him. It's tasteless and makes the optics of her situation look even creepier.

Her pain has largely been ignored for as long as the game has existed. I can't for the life of me figure out why.

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.