#i want my work to be comprehensible

[moondirti]

being a writer is sometimes having to forgo using the really cool, really specific word you want to use because no one will know what it means

[boar-cry]

Gear Station is not haunted. No, Gear Station is alive and well.

A bit of an explanation below the cut:

I had this idea at the end of September, and it has had me in a death grip ever since.

I've always had a fascination with stories about haunted houses, of which aren't haunted by ghosts or demons or monsters, but are instead deemed haunted because the House itself is Alive. The Haunting of Hill House by Shirley Jackson, Anatomy by KittyHorrorShow, House of Leaves by Mark Z. Danielewski, just to name a few.

But after a while, it got me thinking; if a House could be Haunted, then what else could? What about other feats of architecture? How about ships or stations?

And if Houses learn to hate because they are abandoned by humanity, can other places learn to love because they are loved by humanity?

Anyways, this is a very VERY long-winded way to say that two of my special interests have combined into the idea of Gear Station itself being Alive and watching over the twins and its other inhabitants. Hopefully nothing bad happens after realizing an eldritch Being is possessing your workplace, and I hope nothing bad further happens after realizing it Knows you! 🫶 surely nothing can go wrong!

[kippipies]

What are your favorite tomarry fics?

hahaha oh boy, what a question. i feel like there's so much talent in this fandom that i could just sit here and list fics for hours and I wouldn't even be scratching the surface of everything amazing out there. But I'll just try and list some of my faves off the top of my head....

What He Grows to Be and And the Living Will Envy the Dead by Severus_Divides_into_H

Of Your Making and When the Phoenix Cries by Purplewitch156

Mind Magic and Blood Magic by Snickerdoodlepop

Dead Leaves on a Wet October Day by trello

Hauntingly and No Glory by ObsidianPen

draw me after you (let us run) and love is touching souls (surely you touched mine) by ToAStranger

Of Kings, of Pawns, and of Men by Mads999

Too old to be this young by Nadia_castillo

Lover's Spit by Amelinda, k3u

Tender Reigns Our Night by noumena

Eat Your Heart Out by evaleon70

My Name is Tom by VanillaGhost

Literally everything by Mosiva lol, but my personal favorite is The Way to a Man's Heart

Also everything by Ailora hahaha, but my personal favorite is Inventing Paradoxes

[lightkrets312]

to the people who write summaries and wikis with thorough breakdowns of all the lore and media for a series that breaks it up into 20 different formats: you are doing fantastic work, may it remain intact and accessible well into the future, I owe you my life

to the people that decide splitting your series into 20 different media formats with critical lore in most/all of them is a good idea:

ARCHIVE YOUR SHIT IMMEDIATELY, WHAT THE FUCK ARE YOU DOING.

[studentbyday]

it just occurred to me that i can "casually" learn french and japanese over the winter sem since i'll have the "time." juuusst one of the many many many things i've been putting off but want to do... i wonder if that's spreading myself too thin... my novelty-seeking brain wants to hear different sounds. in different contexts. it's probably a sign i need to get out more but that's besides the point 😂 what do i dooooo there's too many thingssss

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[not-poignant]

Every now and then I just get the kind of comment that makes me stop working on a fic and just has me going 'how about you write it since you're so concerned with correcting me on this one tiny thing that doesn't matter because it's fanfiction actually'

And like, I do want to work on this fic, but damn, not today.

[bumblebeebats]

There are a lot of really nuanced pros and cons to the phenomenon of creators being more accessible to fans via social media nowadays, but one of the strangest things I've observed is like. People asking permission to have headcanons? Like yes, obviously, it's interesting to learn more about the creators' original intentions, but "Neil Gaiman, is it ok if in interpret Aziraphale as having carpal tunnel? 🥺" babes, that's between you and your 10 most unhinged Discord friends. Here, look, watch: I think Guillermo de la Cruz listens to My Chemical Romance. I think Zagreus has ADHD. I think Harrowhark Nonagesimus is a Scorpio. See? No snipers. It's easy, it's legal, and it's free

[citruscore]

clapping and cheering and skipping around bc my special guy was in todays episode (he is currently under threat of gunfire)

[nubimera]

Sometimes I think about my DC oc and hope that my space cuckoo and their husband Jason are okay

[jouyato]

practice piece w/ the boys (reference+frameless below)

refed Christ Embracing St. Bernard by Francesco Ribalta but i dont have the cunty baroque colouring style. thats also where the inscription below the frame comes from.

[ferronickel]

Hail, flatter! This one, who is a layperson of the arts and comixcraft, has a query for you:

So like, what is flatting?

I've seen your flats in Wifwulf, and I've read about the flats in Looking Glasses, and generally get that it results in an image with similarly coloured areas sharing the same false-colour.

But like, how is it then used? The final images seem to contain more colours and shading, so why not just go straight to this? Why do false colours get used instead of the real ones? How do you pick the colours and how many get used?

How come this is a thing that a whole other person can do separately? I guess that's because it's time consuming - so it saves time somehow?

Thank you! I come in the spirit of humility wishing to relieve my ignorance of your noble craft!

OHOHOHO!!! You've activated my trap card and now I get to ramble about comics craft! And in my area of professional expertise, too! Be prepared for a long post

I'm going to start with the last part of your question:

How come this is a thing that a whole other person can do separately? I guess that's because it's time consuming - so it saves time somehow?

So the thing about comics is that it is one of the most intensely time consuming mediums to create. One person can make comics on their own fairly easily, but it takes forever to produce. Consider that I've been working on Looking Glasses for 18-19 months and have drawn about 87 pages. Now, the western comics industry expects issues to be produced monthly, generally 24 pages in length. It's very difficult for a single person to work at this rate, so the labor of producing comics has been divided. Generally these jobs become:

Writer (writes the script)

Editor (edits the script)

Artist (draws the lineart)

Colorist (colors and renders the art)

Letterer (adds balloons, dialog, and sfx)

Flatter (sometimes 'color assistant' they take the art and prepare it for coloring)

This isn't comprehensive though, there are a bunch of other jobs, like designers and layout artists. Occasionally the artist job gets broken into Pencilers (who sketch the art) and Inkers (who ink the sketch). Basically, by splitting the work amongst a number of people you can produce comics much faster. Not all of these jobs are required, and creator-owed books might have artists do their own coloring and lettering, while big work-for-hire books might have twice as many people working so they can pump out a spider-man book every other week.

Okay, so why Flatters?

Flatting at it's most basic level is just coloring inside the lines. You take a black and white page of art, and you have to fill in every part of the page that will eventually be colored. It's a pretty time consuming task depending on how involved your lineart is.

Flatting a page of Looking Glasses doesn't take me all that long, usually less than a half hour, which is pretty quick. Looking Glasses pages tend to be... optimized for flatting though. There are only ever a few characters and there aren't a ton of background details.

You mentioned Wifwulf (created by my longtime friend and collaborator Dailen Ogden), here's one of it's pages:

Basically everything that's a different base color, (every tree, plant, bit of moss, character, etc.) needed to be picked out separately. Each page of Wifwulf took me a few hours to flat. If Dailen had been doing that themself, those hours would have really added up, but instead they could spend that time drawing and coloring. Now, that said, these pages have a lot of texture, so it's hard to see exactly what I did.

Here's an example from a comic I worked on early in my career. (Lineart by Patrick Custodio)

The writer for this comic loved to put in these incredibly complex crowd scenes, which is something the artist excelled at drawing. I was coloring and flatting at this point on the book, and before I could even start coloring properly, I would need to flat for like eight hours. (I have a much more efficient method these days) It was frustrating because I just wanted to work on the actually creative part, but the majority of my time was spent on something monotonous. As soon as I got the writer to hire a flatter for me, coloring a page would take me only one or two hours, not nine or ten.

So that's why flatters exist, mainly to ease the workload on colorists.

But like, how is it then used? The final images seem to contain more colours and shading, so why not just go straight to this?

Flatting serves a couple of purposes. It's main function, like I said above, is just coloring in the lines. After finishing your lineart it has to get colored in, so in a layer below the lines, you add colors.

The secondary function is preservation. I like to work in a way that is non-destructive, basically, at any point in the process I can restore an earlier version of the drawing if I make a mistake or don't like something. Flats are integral to this.

In digital art, there's this thing called anti-aliasing, where the edges of a line or shape have a drop off of pixel color or opacity. It makes the edges look smoother or blurrier. The three dots on the left are Anti-Aliased, while the one on the right is Aliased, there's no drop off, just hard pixels.

Anti-aliasing is fine until you need to change the color using the paint bucket, or select using the magic wand...

See how the anti-aliased art doesn't play well with these tools, but the aliased art does? So with something like Wifwulf, the final art is going to be full of texture that makes it impossible to select anything again once it's painted. By having a dedicated aliased flats layer under the rest of the artwork, you can always re-select any part of the image you want.

I always leave my flats layer alone, and do any detail work in layers above. For example when I was painting this, it really helped to be able to select just the titan so I could work on those paints without worrying about brushstrokes overlapping the rest of the characters.

One of the other things you can do with flats is quickly selecting certain elements. On most pages, I flat my panels, figures, and background elements separately. Later, with a single button press, I can select just the characters in the scene, or entire panels at a time, which makes things like shading a whole lot easier.

Why do false colours get used instead of the real ones?

If you're flatting for other people you often don't know what the final colors are going to be, so you just pick random ones. Garish colors can be helpful because it makes it obvious that they're not the final colors. Why don't I use the correct colors on my own pages when I'm flatting? Habit, mostly. It's also faster to grab random colors than to track down the correct ones. Sometimes two different things will have the same final color but I like to flat them with different colors so I can select them individually if I need to.

You can see the process a bit here. In my flats, Lancer's spade (eye? eyes? thing) is a different color from his tongue, even if they end up being the same white in the final image. This would help if I ever needed to select just his eyes for some reason. You can also see how I select his body fur color and then add details on top, like his colored fingers and the grey on his arm. Those elements have blurry anti-aliased edges, and it would be impossible to re-select them without flats.

How do you pick the colours and how many get used?

I use the default "additional color set" palette in clip studio and just work my way through it. I pick row and work my way down (for a change of pace I vary which row I start with). How many is mostly dependent on the artwork. You just keep going until you run out of individual objects to color. I have worked on pages where I've run out of colors on this palette and had to start making up more. Typically a page of Looking Glasses only needs around 20-30, though.

So! That's flatting! It's a little known job, and it's how I got started with my comics career, so I have a lot of thoughts on it. I was trying to be concise (lol), so I hope this all makes sense, but I'd be happy to clarify or answer any other questions about this process. I know I didn't really go into how I flat my work, so I can make that post if anyone is interested.

[orcelito]

I got.... my official adhd diagnosis....🥺🥺🥺🥺

Had my appointment where she went thru all the different parts of the testing and what they found by it. All sorts of things that I didn't even Realize what it was testing. And they pointed to combined type adhd!!!!!

There was also an iq test involved, specifically to test working memory in comparison to other categories, bc that's smth that adhd people tend to score low on. And I did too!!!! Compared to my other scores, at least. It was still average overall, but I scored "high average" on verbal comprehension and "superior" on perceptual reasoning and processing speed. WHICH MEANS!!!! Working memory was my low thing!!! Another thing pointing to it!!!!

Also the weird X test I took was the CPT-3 test and apparently it was geared Specifically towards adhd stuff. Which bc of my "atypically fast" reaction speed + "very elevated" commissions rate (which in this context means incorrectly hit space bar, aka I clicked when I wasn't supposed to) it showed a strong indication of impulsivity & some indication of inattentiveness and vigilance. That impulsivity is the big one here tho.

I'm just really excited now. I have a long report talking about all my brain stuffs that says I Do have adhd and that it would benefit me to take stimulants. AND!!!!! That I DONT have depression or anxiety!!!! That's a fuckin big one!!!!!! Bc they've avoided giving me stimulants in the past bc of the "anxiety" except I don't got it!!!! The examiner said exactly what I thought about it, which is that the prior disgnoses of depression and anxiety probably stemmed from effects of the untreated adhd. Aka I had Feels Bad Disorder. Ykno? Except not actually a disorder bc it was just a byproduct.

SO! Hopefully that can help me to get proper meds as soon as possible. Gonna be contacting my doctor to set up an appointment... soon!!!!!

[3416]

the thing is, i wouldn't be nearly as bothered about mitch not being on the top line if it wasn't being treated as some kind of proof that he's never been good enough to play there and that it hurts the team or drags auston down when he does. i don't care about domi ultimately, he's an effective player (when he's not taking boneheaded penalties) and obviously it helps to spread out our best guys to make each line that little bit harder to play against by forcing the other team to decide how to matchup. whatever. i don't agree with keefe's choices there but i get the intent.

what i do care about is one of the best players this franchise has ever seen being treated like some kind of anchor holding the team (and auston specifically) back from achieving greatness and using domi's success with auston (BECAUSE of auston tyvm) to paint him as some selfish jealous (genuinely wtf @ this fanfiction in particular coming from an actual media guy) brat pouting over being ~demoted~ when he's never not done what has been asked of him (which is literally fucking everything) and has always been fully on board any time he's been paired with johnny!! or anyone else!! like these are all mitch's guys!!! he loves them and this team /so much/!!!! like i genuinely can't imagine the list of things he loves more than being a leaf is very long

i'm just so tired of so many (non-tumblr) fanspaces being dominated by people who have made an entire personality out of treating him like one of the worst things that's ever happened to the leafs (and, again, auston specifically) because idk they hate his dumb dad (welcome to the club weirdos!!!) and/or can't "forgive" him for his contract. even the critique of him in the playoffs is overblown in comparison to the rest of the team and the goalposts for what it means to be a ~playoff performer~ always seem to find a way to shift as needed to single him out as some kind of unique failure among the group which.. rme for all time

anyway sorry for venting lmao it's just such a bummer but WHATEVER here's to mitchell daniel marner having the best damn playoffs of his damn life!!!!!!!! go leafs go

ohhh anon. so many things i can (and will) say here, but you and i are totally on the same wavelength, lol. that's what has made this stretch so much worse imo... auston on a hot streak with two mid guys and workable chemistry (for now) all around, and we try spreading out the "offense" but actually... for the leafs... i think spreading the offense is less what we're doing w 1634 and more... shifting defensive responsibility off of our 'top' line and giving them easier matchups by putting the tougher ones with the mcmann-jt-marner line bc mitch is there now to take on some more defensive responsibility that isn't doable by players like willy/whoever else plays rw there. (which annoys me in it's own way bc it makes the 'top' line look more impressive stat wise while not even dealing with the most dangerous 'top' line on the other team, lol but.. it's still gonna require auston to be On Top of it all the time bc he's by himself defensively.. only reason it annoys me is the discourse afterward too like anyway). mitch and auston are our best all around players by quite a bit, lol, so i get WHY splitting them up works well too, but when people get mad that they're together so much... when they've proven to work better and be more dangerous year after year as a duo... i mean, peoples anger should be at the rest of the lineup that sometimes doesn't pull their own weight in that regard, lol. i get the experiment we're running rn. i'm not confident it will work, but we will see. i don't care if it does or doesn't... doesn't change the fact that ultimately, i know they want to play together the most and that hasn't changed bc of some randos that came in this year so. i genuinely think auston requests to play with mitch often after not being allowed to for a couple years, and this year he's sucking it up for the playoffs and trying something different for the sake of the team.

as for the way a lot of people treat mitch as expendable... it's so frustrating to me too... just the double standards abt him vs anyone else are insane. even tonight, seeing people lose their fucking minds over max reposting a fan's hype video without credit and assuming he made it (?? lol) and drooling all over themselves about how he "has the passion", but like... mitch had a video made last year and people were telling him to get off social media and perform better in the playoffs in the exact same spaces like. if he even comes on social media near the playoffs, it's always just hateful. honestly.... so many leaf fans don't deserve him and don't deserve to see a cup in their entire lifetimes either, lol. it makes my relationship with this team so much more complicated to have such a hate for the fanbase like that. like . this year, i just care so much less about the team as a whole too. i'm less connected to the overall results, lmao. i love the leafs and want my guys specifically to be able to win the cup in their lifetime more than anything, but i realllyyy don't care about some of these ppl on our team and i hate how the worst fans in this fanbase feel so vindicated over the dumbest ugliest shit. like i'd give anything to not have to see braindead opinions for a single day. as much as i'm rooting for them, if this isn't the year... well. we move, lol. i wouldn't die! (which is exactly why they'll prob do it this year lol) i'll feel competitive while watching the playoffs, esp vs the bruins, but like... whatever happens happens man. my men will be coming back and i hope some other ones won't, regardless of playoff results. sometimes it's even less about the player himself and more about the idiots attached.

all i literally care about this year is mitch's performance since we're going into a contract year for him. nothing he could possibly do would get people off his back but that, and somehow his points never seem to matter in the playoffs bc they're in games we're already winning ?? but yeah. the willy is our best playoff performer narrative makes me fucking laugh man........ like people will lower their standards and move their goalposts and do ANYTHING to make it seem like mitch is cancerous and the reason we keep losing and everyone else steps up when he doesn't and it's just a fucking lie. morgan is the only one with visible elevation in the playoffs imo, and . idk. maybe the way the team's structured rn and shifting players to different lines will work. maybe it won't. we won a round not doing it last year, so it's not like that's THE make or break thing and we haven't even seen this lineup play a single meaningful game in the last month fnlkdsjf or a singular playoff game so. it's all a LOT of big talk. at the end of the day.. if the leafs ever make it to the cup.. itll be 1634 passing it to each other and their names next to each other and that's all i want for them, honestly. leafs duo of all time regardless of the dumbasses the 23-24 season has emboldened.

[gammaraydeath]

truthfully my birthday will be spent writing a 4 page essay about why my maximum likelihood tree failed to resolve a phylogeny and making a presentation for monday to go with it just so everybody in my class knows that i failed <3 but when i'm done i'm gonna get really drunk and play video games until i pass out and or die

[revlushaun]

that one post about "dungeon meshi is good because it had time to be good!" (which was a lie about the timeline it was produced in being exceptional) completely misses that dungeon meshi is uniquely good because ryoko kui doesnt rely on tropes and archetypes to explain her world building or characters, and actively subverts what tropes and archetypes characters would be linked to based on their appearance or in-world race or status. the fight for good working conditions has no bearing on how often writers are lazy in their world building and characters relying on tropes, and the fight for good working conditions is irrelevant to how good a piece of media is. you can look to something like harry potter as an example, i dont exactly think harry potter was made in crunch culture but theres a hell of a lot of problems with that piece of media explained away by literal sorting of characters into the good house and the bad house and using racial stereotypes like with the goblins or the offensive naming schemes for non-white characters.

falin looks like damsel in distress at a first glance but it was her sacrifice to be eaten, shes extremely powerful, and shes a weird little kid who played in the dirt who not many people understand, not some delicate princess needed to be saved by her big brother in shining armor. marcille is extremely ditzy and makes stupid mistakes like pouring boiling water, and instead of being the prissy academic the entire time who plays by the book she uses banished magic to save her friends, and the entire reason shes on the journey is she questions the powers above her dictating what magic should and should not be used for, and her lack of out of book knowledge gets questioned by the others instead of relied on. senshi ran away from the typical dwarf role, not caring for gold over the livelihood of his party and being actively good mannered. instead of making the half foots cowardly because of size, for chilchuck its just a logical thing to not fight if you would be in the way and stick to what your body can and cannot do, except he constantly has to help in combat situations to the best of his ability and starts to learn to care about his friends (and also he looks young but is actually a middle-aged alcoholic dad). normally cat women get represented with some sort of sexual air to them for some reason? but izutsumi makes it very explicit she is a cat, she makes a comment about how no one would be interested in a beastman and strips openly (not realizing laios is a monster maniac and not a perv that would want a sexy cat lady), her mannerisms are catlike instead of stuff like catwoman or 80s catra from she-ra. the other characters also still kind of subvert tropes and it never feels these are characters that stick to some archetype out of comfort and familiarity. the dwarven women dont have dramatic size differences and dont feel like caricatures, shuro is meant to show the problems with a stoic, cant express, overly dedicated to the girl of his dreams character, and thistle isnt just some evil presence for the sake of being evil but instead wanting to keep everything perfect in his eyes. kabru's party being foils makes his group feel like the party you would see in mainstream media too, stuff like his people sense and chosen one past of his old village and raised by elves, or mickbell being the little kid of the group.

another thing i want to mention specifically is the orcs. instead of relying on racist pan-indigenous stereotypes she engages with how they were the victims of elven colonization and that their way of life was suddenly deemed not okay, but elves displacing their homes with violence is somehow socially acceptable. I also REALLY like that the orcs use terms like brutish and s*vage to describe the main party instead of the main party using those words against the orcs, it made me chuckle about the breath of fresh air that provided. i dont think it handles orcs perfectly but its far better than other media that rely on racial stereotypes without unique world building. it even shows marcille's bias as an elf, the "who was here first" dialogue reflects that whole "no one is really indigenous, the dinosaurs were here first!" but replace dinos with zombies. theres a film called "reel injun" that goes more into how indigenous peoples are constantly either these brutish characters or the "noble s*vage" that has some sort of otherworldly connection to nature, usually to prop up the main characters for being "typical" white cishet christian characters like a cowboys and indians or an evangelical kind of way.

im someone who doesnt watch a lot of mainstream popular media because in my head the characters and story feel predictable and reliant on tropes. im very aware im picky with media and i stick to my comfort zone, but it also kind of feels like if i were to watch some mainstream media like star wars or harry potter, it would go as i can predict it would with all the pop culture knowledge id gained before ever watching those things as a kid. the hero is some chosen one, the bad guys are bad because the plot says so, the characters are some version of some archetype... perhaps im wrong, and maybe it doesnt necessarily mean that a piece of media is bad or boring, but i find dungeon meshi so nice to watch because nothing feels super predictable and you have to learn people's characters and morals instead of: this is the studious prissy one, this is the main character guy, this is the pan-indigenous race that is inherently brutal to people or mystical with nature, this is the tiny coward who doesnt fight cause hes scared and a big softy, this is the big dwarf that wants gold and minerals and has no manners, this is the evil lord of the dungeon that wants to destroy everything, etc.

(i also think the subversion of archetypes in dungeon meshi is why ive seen so much of it even though most of what i follow on tumblr is for hot queer guys or cute nintendo stuff, because if your identity itself subverts what is assumed of your body's archetype in cishet white christian society, youre likely going to enjoy the stuff that doesnt follow that a little bit more.)