#i mean there were some great ones too!

[alivingfire]

rules: list 9 favorite books of 2023 or 9 books on your TBR list for 2024

this is a wide variety on my TBR list this year. i'm trying to expand my nonfiction reading so if anyone has recs, hit me up!

Nettle & Bone - T. Kingfisher

The Iliad translated by Emily Wilson

A Novel Arrangement - Arden Powell

Piranesi - Susanna Clarke

Eve - Cat Bohannon

Drunk on All Your Strange New Words - Eddie Robson

Bunt! - Ngozi Ukazu and Mad Rupert

The Only Good Indians - Stephen Graham Jones

Rise of the Videogame Zinesters - Anna Anthropy

i know i've seen some others do this but they've blurred together in my mind, so apologies if you did and i missed it! but i'm tagging @geddyqueer @r-o-s-e-f-i-r-e @tsnbrainrot @noburrowingtactics @grandwretch @grimweathers and anyone else interested in doing it!

[kayenimate]

Common side effects include referencing a b99 joke

[violentdelightshavevioletends]

“Dain is just an imperfect 21-year-old kid who trusted his dad, and is a little over-protective telling his chronically ill friend to sit the fuck down.”

[venusflitrapp]

just got to penacony !!!! i’ve been obsessively drawing the guys for the past few days lol

[polysyndetonaddictsupportgroup]

hello hello!! your fic pez dispenser debris brings me immense joy. and i wanna know if the other nejire and tamaki will be showing up. id love to see their reactions to fucking #leku. and i’d love to hear your thoughts on them in general if you have any to spare. the big three have such a fun dynamic to me.

Tamaki will appear. I’m not fully settled on Nejire. In my mind, she moved to Kyoto not long after she graduated but keeps in very close touch (if you read the battle of Yokohama posts, she was there during that fight because she was visiting Her Boys and insisted on a Big Three Sleep Over, which is why the three of them were together when Izuku called to begin with). They have a group chat that she started blowing up when the Leku news hit. All of them are painfully, violently aware of the fact Mirio is absolutely not dating Izuku and also of the fact that Mirio’s probably close to drowning himself at the mere thought.

I do really like the idea of the Big Three having been sort of outcasts before they were the big three, and I think canon supports this reading. They were all sort of the weird kids. They were each other’s only friends. After they started rising in the ranks, they became more popular, but they all consider the others their main people.

I also like the idea that they became the Big Three because of each other.

They were friends before they were the big three. And it’s not a coincidence that the big three were all already friends. They pushed each other to grow in their skills and surpass everyone else.

The reason why they haven’t been more present in pez is actually the same reason why I didn’t have them open a hero agency together: they all need to grow separately from the others for a bit.

Like. Here’s Mirio, with two very skilled and experienced heroes at his side, waiting for Izuku to graduate so he can start his agency. Why not go into business with the friends he’s already been fighting with for years?

I see the Big Three as people who all, for one reason or another, decided that they needed to learn how to be strong on their own at the start of their career.

Take Tamaki. He’s childhood friends with Mirio. He was briefly referenced in one of the tumblr posts as one of Mirio’s staunchest advocates after he lost his Quirk. So why isn’t he heroes with Mirio?

Well, he sort of is. He’s got a mutual support agreement with him.

Time to derail into my favorite topic: the economic models underpinning fictional societies. As you can probably guess I’m great at parties.

Mutual support agreements are contractual devices that I came up with in response to the convoluted economic structure of heroics compensation I discussed a few posts ago. In that post, I discussed independent/underground v. agency models with respect to public compensation and how I think that there’s an impossibly complicated matrix that grants heroes portions of the local budget based on their statistics. Briefly, I discussed how that calculation would cause conflict with big name heroes taking credit for their sidekicks’ work because agencies would necessarily need to be counted as one entity for the purposes of public funding.

What happens when multiple agencies are involved in the same incident?

As a reminder, the reason why they need to assign credit for a bust to one individual is because agencies are funded as a whole. This is a grant system that’s meant to be more than just about paying a salary—the government is providing funds meant to go towards an office space, supplies, everything. You could not give everyone in an agency public funding separate checks under that model. Public funding is made out to the agency as a whole and it’s up to the agency as to how to use it. But if you have six people from the same agency who all register the exact same take down because they all participated—well now you’ve got the one job reported six times over for the same filing entity. That’s going to horrifically skew the funding calculation. The government’s paying for the same bust six times over and you just incentivized hero agencies to send their people all to do the same job because it pays the same to have six guys stop one criminal as it does to have six guys stop six different criminals separately.

But hey—sometimes it’s a six guy job. That would more appropriately be considered an enhancement to a job’s relative difficulty than it would be to giving credit for a takedown. After all, the same job could require “six guys” or “one All Might.” If you focus on the number of heroes an agency uses in a job than you do on how difficult that job actually is, then you’re inadvertently penalizing better heroes because Mid Tier Agency needed six guys to handle what you did on your own, but since they needed six whole guys they get paid more for the same thing that you could do solo.

But the reason for this one man credit structure is because you’re getting one check for the government per agency. But what about when heroes from different agencies team up? Big Hero is not sharing a government funding check with Even Bigger Hero, and there’s absolutely no way that every single team up is just fucking pro bono for everyone but one guy. That’d make it impossible. So the same job would have to get counted multiple times when it involved different heroic entities.

The fact that you were teamed up instead of solo would go into the relative value calculation of each independent job. You get the full pot if you’re solo, but if you’re sharing the load, you’re sharing the credit. But at the same time, how much credit you get would also have to be determined on a case by case basis. Like. A hero that evacuated three civilians contributed to a fight, but they in no way should get equal credit and compensation to All Might, who fought the entire villain team solo.

So say Big Hero Agency and Bigger Hero Agency are doing a team up for the good of Japan. Big Hero Agency initiated the investigation, did most of the legwork, and invited Bigger Hero Agency onto the job. However, when it came to actually fighting, Bigger Hero Agency absolutely carried the day. Big Hero Agency would have been dust if Bigger Hero Agency hadn’t been there.

Who deserves more credit and compensation?

There is probably some kind of governmental dispute/appeal board to settle disputes about compensation, but like. As someone who does government work. The government’s absolute favorite thing to say is “we are not babysitting you, fucking figure it out like big boys.” They’ll have a way to resolve disputes, but they will also heavily incentivize voluntary agreement amongst the parties.

Planned team ups probably have legal working shit out ahead of time. Spontaneous team ups or heroes stealing each other’s fights a la Mount Lady and Kamui Woods in the pilot are probably the biggest headaches.

But what about heroes that are always teaming up? They’re your go to. Your homeboy. The daredevil to your Spider-Man. You don’t file your paperwork together, but you’re still always fighting side by side. Are you renegotiating who gets credit for what in every single little fight?

Fuck no. That’s a huge pain in the ass. Enter the mutual support agreement. It’s a contract that has a bunch of clauses meant to help streamline deciding who gets credit for what and resolve disputes before they happen.

You wouldn’t just want this for compensation purposes. Say Big Hero commits the hero equivalent of police brutality. Now he’s being sued. He’s apparently not that big of a hero as the name implies, because he’s got no fucking money. You want more money for your client, so you need a deeper pocket to pull from. At the time of the incident, he was working with Bigger Hero Agency. They’re not the same agency, but it was Bigger Heroes bust, and they work together all the time. Big Hero is basically one of Bigger Heroes employees hidden behind a different corporate structure. Should Bigger Hero be liable for Big Hero?

That’s a big fucking court case that can be headed off at the pass by the fact that Bigger Hero put indemnification and liability clauses in its mutual support agreement. There’s a lot of issues that would arise from the practice of heroics that you’d want to govern ahead of time with a contract. So you sign a mutual support agreement.

But the silly little fake tumblr post also said they weren’t popular and mostly agencies like Idaten used them. So why is that?

Frankly, because it’s not very worth agencies while to team up with other agencies on the regular. The system doesn’t incentivize it.

If you have all of your own sidekicks on a job, you can steal credit from them. The same is not true for heroes from other agencies. You get more public funding if you staff a job with all people from your agency instead of having part of the credit go to other agencies. And you get to stand in front of the cameras and say “Big Hero Has Saved The City Again” instead of having to say “Thank You To Our Dear Friends From Bigger Hero Agency Who Carried This Team.”

Idaten is the exception because, well. It doesn’t care. Idaten’s priority is cultivating the necessary talent and teamwork needed to get the job done. It doesn’t care if it has to go outside of the agency for that. Fuck, Tensei’s canonically willing to reach out to vigilantes. Its genuine focus is saving people, so it goes against the grain of what the system incentivizes.

Mirio and Tamaki have a mutual support agreement. They’re out working together so much that Fat Gum’s agency approved an overall disliked mechanism to facilitate their team ups. They are heroes together—so why aren’t they in an agency together?

I think Tamaki wanted to spend his first year in heroics forcing himself out of his comfort zone so he’d improve. Fat Gum will force him in front of the cameras. He’s focusing on learning how to communicate effectively with the public and with the media, and Fat Gum has the sort of resources and infrastructure where Tamaki can devote the time to learning that and improving. If he was in an agency with Mirio, he’d use Mirio as a crutch to hide from something he genuinely wants to improve in. Fat Gum forces him to grow.

Mirio himself sort of had to go independent. For one, he and Izuku decided to start their agency not too long after Mirio got his license. It was before Mirio debuted. Izuku had just finished his first year. No one knew who either of them were, and they had no clue just how famous they’d both become before Izuku graduated.

They both figured they’d be a couple of nobody heroes with a dinky little agency right out the gate of Izuku’s graduation and were sort of genuinely excited at the prospect. They’d just be heroes together, which is all they wanted. They’d figured no one would give a shit about them until well after they started their agency and started working and that Izuku would have 0 offers to work elsewhere because he wasn’t even going to apply to agencies. So Mirio decided he’d stay independent until Izuku graduated so he wouldn’t be tied up in an agency contracts and they could just start fresh.

The other reason is that most agencies wouldn’t touch Mirio with a ten foot pole because he was Quirkless, and even with the ones that would, he suspected they’d sideline or coddle him because he was Quirkless. Being independent meant he could do whatever the hell he pleased. So he bought the Mirio Mom Van and, for a brief, glorious moment, convinced All Might to supervise their bullshit so he could start going on jobs with Izuku (students have to be supervised by heroes with a teaching license, which he wouldn’t be eligible for for the first three years of his career, except in exigent circumstances. He couldn’t have Izuku as an intern himself but All Might sure could). For a few beautiful weeks it was just Mirio, Izuku, and fucking All Might in the Mirio Mom Van going on stakeouts, all wearing the world’s stupidest mustaches. The UA internship program revoked permission for this arrangement not long after it started formally out of concerns for the legality of this arrangement since All Might was no longer an active duty hero, informally because All Might, Izuku, and Mirio is the stupidest and most reckless combination fucking imaginable and they are killing Aizawa from the stress they are killing him. So now Mirio works alone while he waits for Izuku to be fully licensed.

Nejire I kind of see as someone who moved away from her hometown right out of the gate of graduation but visited home very frequently, which is why she moved to Kyoto after graduation but was having a fucking sleepover at Mirio’s place when Yokohama happened. She takes the bullet train back at least once a month and spends the weekend bumming on Mirio or Tamaki’s couch. I think she wanted to see who she was away from home and there’d never be a better time to do it. I also think she’ll move back so that way she can work more fully with Her Boys one day, but wanted to push herself out of the familiar first.

All of the trio’s reasons for not working together quite yet are mutable, to be clear. Tamaki just wanted the experience early in his career or he knew he’d never learn the public relation skills he wanted to get. Nejire also just wanted the experience somewhere else before she put down real roots somewhere and is liable to move back to be with her friends and family. And Mirio’s on the verge of opening his own agency, so he doesn’t have to worry about getting sidelined by his boss anymore or getting tied up in a bad contract.

[taraxippos]

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.

[youraveragemiscellanyenjoyer]

i just finished black monday. season three was kind of awful I'm not even gonna lie

[stealingyourbones]

Bruce isn't the best parent, but a chunk of the issue is that he's an only child. Should he stop Jason and Dick from throwing Damian back and forth like a human ball? Is Tim threatening to bite Cass an issue? Are those death threats serious or not? The poor man is an only child trying to run herd on at least a half dozen feral siblings. He exists in a state of constant confusion.

I.

This isn’t to be mean, but that is simply not the case.

I keep getting bad parent bruce takes and it sucks because all of them aren’t even proper reasoning for his character.

I’m just using you as an example, but hear me out.

Bruce is an extremely smart person, Homie has watched movies and read books, he can learn from situations around him that things are sibling things. Sure, he was excluded as a kid, but that isn’t nearly the main issue why he isn’t the best parent.

homie has so much shit wrong with him, he’s emotionally just not there, he keeps himself stuck in a perpetual state of grief and mourning for his parents of a thing that happened when he was a child, he has been trained by assassins and has experienced loss and pain to an insane extent, he has such an insane extent of paranoia and trust issues that it affects his daily life, is definitely autistic, and has issues with social cues.

I’m trying to properly articulate just why that’s not the case but my brain isn’t working with me so I’m handing this over to my twin @bonebrokebuddy who is far more articulate than me.

———

Hi, it's Billy, Bones's twin writing because Bones had a hard time putting this into words and I'm more of a canon nitpick than her.

Uh- have you ever. And I mean even once, met an only child.

I promise, if you read even a singular comic, you could tell this take is incredibly out of character.

Bruce isn’t a good parent. He’s also not a bad parent. He loves his kids. He literally could not stop them from pulling dumb shit if they tried and putting themselves into danger.

Bruce is the worlds greatest detective. He knows how to spot and detect emotions and trouble in his kids. He’s The Worlds Greatest Detective.

His issue with being a parent likely comes from having Alfred as a father figure. Imagine having a dad that you can fire at any time, you pay so they can stay with you, and can just leave at any moment if they don’t approve of the person they work for. That will severely fuck up a kid.

His issue isn’t that he’s an only child, it’s that it’s every Robin’s god given right to go against and defy Batman’s orders whenever possible because kids are viscous little buggers who don’t like being told “you can’t do that” even if it’s for their own health, they’ll do it anyway.

After you’ve taught your kids how to exist in deadly situations, they think they’re invincible when it’s because Bruce is doing all he fucking can to make sure his kids don’t get hurt. If they feel like they can make the world a better place, they’ll do it, regardless of the risk because they’re inherently self sacrificing and good people.

Bruce’s issue with parenting is due to his relationship with his kids. Again, it isn’t that he’s an only child, it’s that the kids he adopted are their own people and they are even more stubborn and bad at communication as him.

Even more so, it’s due to the dang narrative.

Conflict between Bruce and his kids that cause them to separate has been the backstory for plenty of solo batkid runs to endure Batman isn’t as involved or the main focus of the run.

Narrative tension is literally the cause of all the bad parent decisions for Bruce, because conflict drives narrative or miscommunications cause the story to lengthen and complicate itself

it’s not as easy as “Bruce is bad dad” because he’s Not. Bruce is good with kids! He has a pouch in his utility belt specifically with suckers for kids!

But Bruce isn't a great world star dad either. He definitely inherited his ability to communicate with people outside crisis situations largely from trainers around the world and his arms-length-distance-at-all-times distance relationship with the butler who raised him.

Despite him being good with kids, his kids have lives of their own with morals and opinions of their own that conflict and clash constantly. It’s not a simple case of “Bruce is a bad dad.”

It’s a case of “everyone has slightly different opinions and approaches to situations so occasionally conflict happens when they clash or interfere with each other” because it’s a comic that tells a story!

Anyways, my recommendation? Pick up a comic. And preferably? Read it. Or watch BTAS if it’s more accessible to you. either works. This opinion isn't your fault most likely, just the quality of the DC fan-content you've been consuming that are incredibly removed from the comics. If you want, DM me at @bonebrokebuddy and I can send you some good quality DC fics with in-character Bruce.

————

Bones here again,

That basically sums up the exact stuff I couldn’t properly describe. I was using you more as an example because I have dozens of bad parent bruce takes in my inbox and I am 90% sure that the cause of them is that they simply haven’t read anything about the character.

Read a comic, read some strictly DC fanfiction, watch some of the many many TV shows and animated movies, there are even motion comics free online to watch that have voice acting and everything!

Being an only child doesn’t make you a bad father.

[danwhobrowses]

Okay I've had a sleep, I've seen a lot of what the fandom has to say and I'm gonna just talk about my thoughts on the episode 118 stuff in more detail too.

Spoilers under the cut and it's a little bit (5 paras and a tl/dr at the bottom) long

I have never liked the Release Predathos option, but it had been very apparent - since probably as far back as the vorbing - that Matt had been pushing the narrative towards that option whether Bells Hells wanted it or not. The lack of alternatives provided meant that yes, the Hells had little choice but to deal with Predathos themselves; Ludinus was likely not dead, they were low on strength and resources even after a short rest to fight another full-strength Ludinus, and even if they caved in the core and killed Ludinus again someone else would've tried to come and release Predathos. On that I can't really fault the cast for playing ball with the DM and I can't say what the characters are doing is out of character or with bad intentions, it simply annoys me how close we were to entertaining the idea that should've been discussed earlier of putting Predathos somewhere nobody can get to. Objectively it was still a terrible idea, one that even in delivery could've been better prepared with Imogen not in range of the two saving throw buffs or having any Inspiration as she took on Predathos knowing from previous experience that a wisdom save is likely to be involved. But again, the alternatives offered up to them are sparse, nothing else in the narrative had offered a clear solution and if something did suddenly come up it would've felt too much like a deus ex machina. The Hells are not doing this because they want to do Ludinus' plan, but doing so is by proxy doing Ludinus' plan, and thus the problem as of current lies in the Plot.

Right now, they're at a very high risk of the plot not justifying a story, because why did we have this campaign if the outcome is gonna be the same? If the plan is to reset Exandria why didn't we have C3 in the post-reset era and trickle in what happened as lore? Bells Hells have often lacked agency when it came to the Predathos portions of the campaign, but even when they took agency to try and be more than what they were made to be they found themselves punished or being withheld the catharsis they needed to grow. Regardless, the plot is currently failing the characters, and thus the characters are failing the audience - to the point where some in the fandom now want them all to die or for Braius to betray them all - because we the audience don't see the appeal of the direction.

There is a caveat though: it's not yet over. We expect that there will be a fight between the Hells and Predathos!Imogen (we need a name for that) and possibly Ludinus swooping in with the harness to try and steal a victory, but that does mean that the theatre of imagination can come into play in dealing with Predathos itself. There is of course uncertainty whether Predathos can die, since Vecna at 0hp would've just discorporated them for a bit, but there are a lot more options for the Hells to entertain now than there was at 118, including having to kill the vessel - be it Imogen or transferring it to another like Ludinus or Liliana, being able to expel Predathos from Imogen and entrapping/banishing/killing it with the knowledge that yeah that was a terrible idea, or somehow having Imogen suppress it and remain control over herself (and hope that the same rule doesn't apply to her as it does with Delilah being free when Laudna dies), which all can involve exciting twists and turns and creative solutions befitting of a conclusion. In that hope is the opening for a more exciting and satisfying end, and while the plot has had rightful criticisms a good ending can make up for them just as much as a bad ending can ruin a good plot.

So in short; I don't like that Imogen did that, but I know why she did it. And why she did it is more the plot's fault because we never saw it as a good idea, just the only decision that was pushed to be made. There's hope though, and all is not lost, but the plot as well as the characters are gonna have to earn it.

[fabdante]

If you wouldn't mind what are the names of your sims you used for the challenge?

i will do you one better and i will even give you the names of the ones i have yet to post as little sneak peaks! (names also typed in alt)

[theflyingfeeling]

so we went to the Nokia Arena show and it looked so cool and it sounded so cool and I was dancing and singing and screaming and Niko played a medley on the piano and brb I'm gonna paint red BC logos on my piano too and he also rapped in Finnish ("kun mä huudan havuja te huudatte PERKELE") and they dressed in white and played the Backstreet Boys cover and it was so much fun and we went to the offical after party and they came to say hi there too (minus Niko) and Samy was there and I talked to him and Tommi walked right past us when we were about to leave and I said "hi" and he said "yeah pls leave me alone" and a lot of fun was had in the form of laughing and dancing and singing and I love you all can we do this again immediately pls pls pls I don't wanna go back to living my boring life 😭

[perilegs]

have they made sour candy weaker or have i become immune

[opens-up-4-nobody]

...

[benevolenterrancy]

hi! I recently came across your tgcf fics, and I wanted to say you’re a phenomenal creator. the recovery series fic and the gloves fic and just all of them. thank you for your content and great attention to detail.

do you have any thoughts/hcs on FXMQ and Xie Lian you’d be willing to share? within the original story or the universes of your fics!

Thank you so much, I'm glad you're enjoying them! (ﾉ*^▽^*)ﾉ.｡:*☆

hmm, random thoughts about the FXMQ... a silly headcanon: Feng Xin has very much been hoisted by his own petard by heckling Mu Qing! That is to say, he'll harass Mu Qing relentlessly about something stupid only to be confronted with a similar situation and realise that there's absolutely NO way he can act in anyway similar to Mu Qing or he'll never hear the end of it.

(For example, he has tolerated some truly atrocious divine statues in the past because he's heckled Mu Qing so much about how picky he is with his divine statues that there's no WAY he can say ANYTHING without seeing that smug bastard's face in his head so he just has to bite his tongue and tolerate some unspeakably ugly statues.)

Mu Qing doesn't generally suffer from similar overthinking (he'll just prepare to kick FX's ass if he dares to say anything about it) except for things more directly related to himself. I think he genuinely finds sewing/embroidery/etc rather relaxing work but he'd rather die than have anyone ever see him do it because he's made such a big deal about not doing that sort of "servant" work anymore.

(He actually really enjoyed stitching Ruoye back together because it gave him the perfect excuse -- he's returning a favour!! and Xie Lian is hopeless!! of course he had to!! -- and he secretly considered using white thread to embroider some invisible little designs just because he doesn't quite want to stop... only he knew he'd get caught if he messed with Xie Lian's spiritual device like that and gave up the idea)

[neverendingford]

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[starrysharks]

zeno's ultimate pokemiku tierlist ⁉️(it's all his opinion and he loves them all regardless⁉️)