#i'm fine I'm just complaining

[megarywrites]

it's sorta funny. I went to culinary school and am a pastry chef and have been in the food industry for like 15 years so you'd think that writing anything to do with preparing food is stupid easy and second nature for me. Nope!! I'm just burnt out now so anytime I write anything food related my brain just wants to shrivel up and die and it takes me forever to write it (unfortunately for me I'm a big believer in food being essential in showcasing culture and it's something that I really want to work on developing for the entire storyworld, not just this book so I'm really in it now lmaoooo)

[yesterdarling]

<— is mad at self for setting alarms bc I can't go back to sleep

[fizpup]

valentine, you're a horse ❤️

[nyehilismwriting]

Have you seen the recent comment made by Jelly Fish Field on your itch page for Project Hadea. I just read it, and found their view really interesting and extremely important criticism on how you've decided to write certain reactions. I love your writing a lot, so it was extremely eye opening what they wrote. What i'm getting at is, I would just like to hear your feedback on that specific comment! all love, and I do hope this won't be taken the wrong way!

I've seen it, yeah. and... okay, I've discussed my reasons for not using rape as a content warning before, and I stand by them; I'm not revisiting any discussion on what does and does not constitute rape. the content is warned for, by specifics of what occurs in the text, to give people the chance to make the most informed decision they can about whether to play. that's it.

as for the rest of it... there's things in there that I understand. I get being frustrated that you can't fully explore the extent of the operative's trauma, yet; I get feeling like the rest of the crew don't trust you, or like rohan is a bitch. they don't, and xe is.

the thing that I find disagreeable about a lot of these criticisms (and similar ones) is that I think they betray a fundamental misreading of the text: the operative is a war criminal. they are heavily armed, unstable, and trapped on a ship with civilians. they kill multiple civilians in chapter one; they might well attempt to kill rohan in front of everyone, and later succeed in doing so. they are a confirmed murderer, who by and large refuses to tell the civilians why they are so angry with rohan. this is by design.the focus of this story is very much about coming to terms with your trauma - from long before you meet rohan! you've been medically experimented on, had your personhood denied for a long time, and had any kind of human empathy stamped out of you. part of the point of the game is for me to explore how trauma can be expressed in ways that are deeply unpalatable - the operative is not a "perfect victim" (a phrase I loathe) and their trauma impacts the way they move through the world, drawing out reactions that aren't wholly sympathetic or empathetic, because their actions are often unjustified and cause real harm, or seem that way to those who don't have full context.

this is why joia is important, this is why your relationships with the crew are important. the crew aren't intended to be author voices, they're not the moral compass here or audience stand-ins: they aren't supposed to represent the "correct" approach to dealing with other people's trauma. no character in this situation is intended to be seen as perfect, but as a way to shine light on different facets of the story.

the operative is built a very specific way, for very specific reasons: this is intentional. they are a person who has been deliberately dehumanised, used as a weapon, who volunteered and fought for the right to be a scientific guinea pig for the war crimes company, in order to be of greater use to said company. they have had their bodily autonomy violated so habitually, for their whole career - they have been coercively used as a test subject by their employer - that they can't see it as an abnormal violation. this isn't to say it is justified, or to diminish the traumatic impact rohan has, but... it's not the operative's first rodeo here, even if it's the player's.

they're bad at processing their emotions. the operative Does Not Cry: this is a character choice I have made. this is because they have had that emotional response beaten out of them. the operative isn't capable of taking their own trauma seriously, because they're not equipped to deal with it. they can't look at it head-on.

likewise, nash isn't capable of being a gentle, reassuring, sympathetic person, much as they might want to; a big part of that relationship is the idea that the pair of you have to relearn to how to relate to one another in your new contexts, and that isn't a smooth process. nash also has reasons to be reticent with you that are yet to be explored - this relationship is undergoing development, with both of you as violent people who commit violent acts, and who relate through violence. your relationship is built on your capacity to commit violence together. they are not equipped to deal with violence affecting you in the way it might someone else, because you've both spent the last ten years being conditioned and trained to assault other people. part of the theme of this game is to explore the way these people might experience a uniquely traumatic violent event, and the effect this might have on their own capacity to endure and process violence again themself.

I understand that it might not be the way people want to play their characters, but it's the way the character is written, and I am doing that on purpose. all I'm asking is that you trust me when I say that this is not going to be swept under the rug, even in the least volatile relationship you can have with rohan. if that's not possible for you - if you can't trust me to do this - then you're welcome to stop playing.

[quaintpanic]

"oh just let people have fun let people enjoy things"

no. everyone has to do what i want forever. no fucking fun allowed no enjoyment. things are only socially acceptable if i personally approve of them. fuck you.

[microtyalm13]

everything about Gavriil feels suffocating.

how his presence alone can be almost overwhelming, how his massive body cages you everytime without a chance to escape. you wouldn't dare to try anyway, knowing that you don't even have a say against a creature of his caliber. he will find you. in your dreams, in your nightmares. in your room.

how he will be intense and vague about everything just for the sake of it; to confuse you further, to see the conflict of emotions in your eyes merge with arousal. eventually your hesitance turns into acceptance, a desperate need to feel his hands all over you. and he will be oh so grateful to fulfill that desire.

how his thick tongue pushes past your lips and into your mouth, reaching almost the back of your throat, relishing in the muffled little sounds you make. your drool mixed with his saliva drips down your chin, and your hazy eyes look up at him when he finally pulls away, giving you a second to breathe.

how his hips are slamming into you relentlessly, your wetness and lack of resistance allowing him to move almost effortlessly. forced to hold onto him for dear life instead of pushing away. all of your morals and principles are being tossed out of the window every single time he comes to you. he has you where he wants you, and will not stop until he feels like you can't take it anymore.

and how in the morning he vanishes away, leaving you guessing: was it just another wet dream? but the cold stickiness between your legs tells you more than you need to know.

[venice-1987]

An annoying phenomenon I've noticed

Alternatively: Whatever you do, don't go onto the TDP reddit

(Alternatively, let people ship things)

[winters-rose-daughterofcain]

I've been trying to phrase things eloquently and I really can't so here you go. Part two really felt like it was trying have its cake and eat it as well in a lot of ways, and it really didn't work.

You give Cressida a whole redemption arc and friendship and put her in an impossible situation and humanise and make you sympathise with her, then want me to hate her again?

You show how Pen uses LW as a coping mechanism and how it's not good for her or those around her and not have her drop it?

You want LW revealed to the ton but no real consequences?

You double down on how Pens family treat her only to have them all come together and be forgiven at the end?

You sideline Colin in his own damn season and butcher Penelope so badly I almost wanted less of her as well?

You can't have everything. Not in such a short time span at least, and it really suffer from it. If you wanted to give Cressida more depth and expend on her role why was she tossed away like nothing at the end? Why did Eloise abandon her? Why was she treated as awful in part two after being put in an actual horror show of a situation? I know they needed the blackmail plot but you can't just give her depth, make her the antagonist and then drop her storyline in the drain that's not how that works. That's not complexity that's laziness, and laziness they created mind you.

They didn't have to write Cressida the way they did this season, if they wanted to make it easy they could have had her marry off screen between seasons to a rich man, they could have had Eloise befriending her be a mistake and had a different arc there, they could have had her LW claim be for any number of reasons, and her blackmail because she still has it out for Penelope. They added this to the story, and as much as I was sceptical at first (I have seen far too many botched bully redemptions) I was glad they did it aded a lot of depth and character interaction, it created some interesting parallels between Cressida and Penelope and seeing Eloise in a different, less intimate friendship with someone who, ironically, is a lot more open with her was interesting. Incomplete, but interesting. It was good, or it could have been. But you can't just turn like that and have it still work. You can't just have Eloise abandon her and have it treated as the right thing to do. You can't leave her with that ending and consider it a happy one. You can't have your cake and eat it too. You didn't create a complex antagonist, you created a scared lost girl who was cruel because she was taught to be and you left her to burn.

You could have had Penelope and Cressida talk to each other, could have explored the ways the mirror and the ways they differ. You could have had Penelope struggle, but untimely empathise with Cressida and help her out, she could have forgiven her for her years of torment because she of all people understands why she did it. You could have had her forgiveness mirror Colin and Eloise forgiving her for LW. You could have looked at how Cressida's openness helped her friendship with Eloise and how Penelope might start to incorporate it. About how by nature of Cressida's openness Eloise is learning to see other perspectives and listen more even if she still has work. You could have done so much with female friendship and camaraderie and empathy and you just... didn't.

The Lady Whistledown this season was just... I think I have a thesis which is most of my thoughts on Polin.

Whistledown was meant to be the subplot to the Polin storyline, not the other way around.

Putting aside my own wishes to have her end Whistledown for her character and for her and Colins relationship, and her love of Colin, her continuing it isn't unexpected I was afraid of this and thought it might happen even if it's lazy. If that was it and if it was handled better I think I could begrudgingly live with it. But it's not. Not only was it handled so so poorly it was the whole second part and for what? Part one was Polin. Part two was Lady Whistledown drama with some cute Polin moments sprinkled in-between with some mandatory angst. Tell me the resolution to Colins arc now. Quickly. You can't he didn't have one, we barley even saw him through Episode seven and eight. There is so much romance in your purpose being the person you love, IF and only IF, it's reciprocal. Penelope literally says in season two, when she has been Whistledown for over a bloody year that she hasn't found her purpose yet. They were meant to find each other. To both have their writing as their passion and creativity and fulfilment, not Whistledown, but her manuscripts, his stories from around the word their joint and secret words. But their centre, their purpose, their guiding light was always meant to be each other. It's what kept Penelope sitting at that window, it's what draw Colin to her at every ball. They had all the potential and set up to be the most beautiful, genuine, heartfelt relationship. But no.

Colin deserved to be angry. The woman he loves has lied, has hurt him, has his from him after all the times he was venerable with her and so, so much more. They deserved to argue. Penelope deserved to be more upset over this than crying in the moment and walking past him later. That's the man she loves, who she thinks hates her, who she know if he did hate her she would deserve it and she wouldn't blame him for a second. They deserved time and space and Colin deserved explanations and apologies. They deserved a later, happier wedding, they both deserved to have their feelings heard and said and listened too. Is that not the core of their relationship? Listening to and seeing each other? Would that not lay the groundwork for some really good well earned conflict and a really rewording resolution? The groundwork was all there that's what's killing me. The set up was all there for something so good which is why I was excited. I know screen time is limited, I know there is only so many emotional conversations you can have on screen, but Bridgerton primarily just people talking on conversations, when it's there bloody season surely they can space out the conversations that need to happen in a way that works with pacing. And to be honest, the screen time defence only works when the screen time that they did have was allocated well. And I'm not taking subplots. Even if I think a few could have been trimmed, the screen time Polin did get was just used so so badly. Colin got dust and that didn't even feel like Penelope had the time, just a mouth piece for the writers.

Rapid fire stuff because I need to expand on the above in more detail later lol.

The acting was flawless give everyone on that set their flowers.

I really like the Mondrich's and seem to be the only one who likes seeing them lol, their sweet and always a good time they just need a better storyline, or you know, one that actually has a resolution.

Not what I would have done for Benedict and I still want to see him look at art again but let's hope season 4 is better lol.

Don't like the way Penelope's family stuff was done, specifically Portia but it is what I thought would happen. Disappointed but not surprised. I'm biased tho so I won't speak on it too much. I lose too much objectivity.

Hate hate hate the baby thing tho, it was fine as a subplot with her sisters but her having the boy was predictable and also dear god the girls nineteen for fucks sake. No. Hated that.

Francesca the absolute love of my life. I adore her and John, I liked the conflicted with Violet, loved everything about her storyline this season she was perfect, my favourite part honestly lol. Also Michaela Stirling get behind me NOW. Sapphic Bridgerton fans truly are the bravest soldiers cause istg. Also I don't trust this fandom with any actor or actresses period but especially not a Black actress who's "ruining" your favourite storyline. So I will be greatly enjoying everything I see of all three of them Francesca John and Michaela, while watching with a sharp eye for any bullshit.

Kate, also the love of my life it was so lovely to have her back even if just for a bit. Wish they did more with Anthony especially him and Colin tho, but again, wasn't expecting much more. I do wish they would write them out with a bit more subtly tho it's getting almost funny how obvious it is.

The Violet, Marcus, Lady Danbury plot I didn't actually mind. Could have been trimmed a bit but it was good seeing the adults in more depth, I haven't watched queen Charlotte tho so I kinda feel like I missed some things.

Overall, I liked certain parts of this season I really did, especially if I fully ignore the context, and I'm happy for everyone who enjoyed it truly, but it was have an entirely different ending in my head. I'll definitely write about at some point but who knows if anyone wants to see that lol.

[myenterpriseisparked]

Okay, okay. I've seen several very anti-Threshold-Day takes floating around in the last year and I'm kinda getting sick of it.

Regardless of how you feel about Threshold as an episode - be that the quality of the ep, the storyline, the themes, whatever - Threshold Day isn't really about Threshold itself. I mean, yes, it is a day celebrating that episode, but the actual point of Threshold Day is community. It's a day where people band together to make memes and tell jokes and overall have fun. It's a day where you send random salamanders to your friends and go "omg tommy p???" It's a day where you appreciate the cool art and fics people make and leave encouraging comments. It's a day for Fun. Everyone gets to be in on a giant inside joke and enjoy that feeling. Everyone gets to commit to the bit. Not to sound all "here's the real meaning of Christmas, Charlie Brown," but, in a very serious and literal sense, that's what Threshold Day is really about. Community.

And it's okay not to enjoy the episode! It's okay not to want to participate in the fun! Seriously, it's OKAY. You don't have to join in! But when you sit there and go "I cannot fathom how all these people like this episode and they're all wrong to be making memes and celebrating" you're missing the point and you start to ruin the very harmless fun everyone else is having. You are not on a moral high-ground for not enjoying a meme or a dumb internet holiday. You are *especially* not on a moral high-ground when you try to make other people feel bad for enjoying something that, again, is so incredibly harmless and ultimately about having fun as a community.

Again: it is fine to not enjoy Threshold. But I see so many posts throughout the year where people seem to be flaunting the fact that they are not like everyone else and hate the episode, the holiday, whatever. I see people talking about how much they wish Threshold Day would go away and it's really, really not cool. Your horse is not higher than mine for not being down to clown with your mutuals, your friends, about a silly Star Trek episode.

[somegrumpynerd]

This day has been a series of slaps to the face so I will be aggressively imagining skeletons having a good time in my little cage until tomorrow morning, this will be different to what I normally do here in no way, thank you

[anglerflsh]

wow ive been kind of off lately I should take a day to rest an[explosion]

[yesterdarling]

<— Keeps setting alarms so I don't fall back asleep

[front-facing-pokemon]

[fallen-goldfishcracker]

"The Wyll haters are inescapable," an essay by me, ft this side conversation in Devora Wilde's bg3 stream:

What if you shut your mouth. What if.

[pharawee]

Kongthup is making me cry again by being absolutely amazing and on point.

[shikai-the-storyteller]

Tumblr is way chiller than Twitter for sure but sometimes I see a post and I'm like. Y'all DO remember this is a block game, right? You're not gonna get legitimately pissy and passive-aggressive over characters doing things in a block game, RIGHT???