#i'm trying to be more present here

[forbelobog]

starter call?

[bilaudad]

wing stuff!

experimenting with a more cartoon style, idk what i'm doing loll

tagging: @goodomensafterdark <3

[howtodisappearcompletelyand]

20/10 stars little guy

[lupins-hehim-pussy]

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

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

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

More:

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

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

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

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

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

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

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

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

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

[nexus-nebulae]

me as a kid: i have all these problems

every adult around me: you're not old enough to know what's wrong with you, you're fine

me as an adult: i still have all these problems

my doctors after i finally got the opportunity to choose them myself: oh my fucking god why have you never gotten help for all these problems. you should have seen me 10 years ago

[uncanny-tranny]

One of the hardest things to actually accept, in my experience, is that you eventually have to forgive yourself for the harm you did to yourself. A good way to move on from that is just being able to let your past self rest in peace. Don't stomp on their resting spot, they need to be at peace. They deserve to be at peace, and so do you.

[tinystepsforward]

algerian trans women arent able to compete in women sports at all, but yeah its makes no sense to call khelif tme. youre so fucking smart.

(this is a response to this post) i see you don't believe that i'm quoting one of the trans women in my life about that, which is your prerogative. it's also your right to miss my point entirely both about the ways this alienates intersex people and about the rigidity of a binary that comes down to the same shrinking circles terfs draw when they try to quantify what a woman is (speak up for women, the most organised nz group, have now submitted on the human rights act suggesting that all babies be karyotyped at birth and the results be public, bc they can't establish any other definition they agree on. absolutely fucking nobody, not even their christian or conspiracist allies, agrees with them on this one.)

but you don't have to take my word for it! when i was at that consultation with the nz law commission, i was in a room with many other intersex and trans people, including trans athletes and trans women like lexie matheson who consult on trans inclusion in sports at a high national level. i don't think there's a single person in that room who did not name what was happening to khelif as we spoke as transmisogyny, who did not speak of her as part of a group with whom we all shared something.

at the end of the day, prison abolition informs all of my politics. i believe that we must look clearly and carefully at harm and distinguish it from discomfort or disagreement, and identify its structural sources and true perpetrators. i believe that to build a better future we must be capable of imagining one. i believe that we can build a world where suffering is not the metric by which we determine value or punishment or righteousness. i believe that we can build a world where we centre and uplift those who are most hurt, in every arena — black and brown trans women, here; in some of my other work, it's incarcerated intellectually disabled people, or asian migrant sex workers affected by section 19, the list goes on — without then pitting them against other people who share some of the same story and will benefit from the same deconstruction of the systems that hold them down. i believe we can build a world in which asab doesn't affect so much of your life by beginning that work now.

there's a politics of scarcity — you have it better than me, so we have nothing in common. i saw it all the time in brothels, the idea that the new girl is taking money out of your kids' mouths. the viciousness with which people who are struggling are so ready to abandon solidarity. is it so hard to demand better for everyone? to think less about the ways we're alone and more about the ways we're together?

maybe it is. i know that well enough as a prison abolitionist. people get scared. they swing at shadows, they swing at anyone who seems to be suffering less, they — we, i should say, i am certainly not immune — get blindingly jealous of people who seem to have it easier. that's grief! that's grief for the easier life that we deserve. and we get to mourn, and take that time to feel it, and then we can choose if we want to keep working hand in hand with each other toward a world where that grief is dwarfed by the promise of the future.

[icewindandboringhorror]

I occasionally wish to reach out to old friends/acquaintances I haven't spoken to since high school/some other even earlier time in my life, but I have SOOO little social energy even for required tasks (like making dr phone calls or etc), I never have any leftover for extra ones, and it would be very odd to message someone I haven't spoken to in like 5 years out of the blue but then take 4 entire months to respond back lol.. My natural curiosity with nostalgia/collecting details of the past/etc. (literally if I were born a little earlier I would definitely do scrapbooking or something lol) is very strong, but, alas, not strong enough to beat out the Social Issues Demons apparently

[whiteshipnightjar]

Do we know anything about Joanna's creative process and working habits?

Well, we know what she's told us haha. But yes, I'd say we know at least somewhat how she works. You can read her wonderful Arthur Mag interview to see how she used to work during her Ys era (I mean the WHOLE interview is a fascinating inside into her work psyche at that time, I don't even know which quote to pick and choose for a sample, all of it is great haha). Then, e.g., Under The Radar for HOOM is really good. Also, Here's Ryan Francesconi talking about working with Joanna on HOOM:

“Ryan Francesconi transcribed many of the vocal and harp parts while working on “Have One on Me.” “Her phrasing with the vocal is really hard to write down,” he told me. “The rhythms are so subtle — so subtly off the beat all the time. And that’s a really interesting thing, because her harp is very precise, yet the vocal floats on top, and has a really separate feeling. The things she can do independently while playing the harp are humbling.”

And Joanna talking about writing HOOM:

"Timeout: It’s [Have One On Me] been called a pop record.

Joanna: ‪I guess it’s almost like I’m saying the same thing [as on Ys], but the intention is a little different for me. For some reason I was in the mood to make something very direct. I felt like I had been so abstract in some ways and kind of ungrounded, there were a lot of frenetic, hypercomplicated musical or harmonic transitions, an extremely compacted, compounded density of lyrics as well as a hyperawareness of the structure of the lyric, the syllabic emphases and the interior rhyme structure. Just a bunch of stuff like that. I had felt like I had been in that very constricted space. Sort of outfitted in this specialized writing gear. I felt like an astronaut or something in my crazy suit walking around in space doing this specialized, technical thing. For me, for whatever reason, that was what I need to do at the time to make what was ultimately a very emotional and intense at times record.‬

T: It is a sad record, isn’t it?

J: For me, it was. But I think for whatever reason when I started work on this record I zipped off the astronaut suit and wanted to be grounded on earth and very earthy, very bodily, physical. I wanted the songs to be easier. Warmer; and a lot of that was intention and a lot of that was a product of the mood that I was in. I did a German interview the other day, where I said that it reminded me of when I was really little and I would go to church. I was five or something. I remember wearing my little sailor dress and zip collar and itchy wool tights and patent leather shoes. My hair was tied up into some really tight French braid and I would get home and tear it all off. Throw it in a pile in the corner and run around outside…Sunday! Run around with my brother and my sister and the dog. Run through the sprinklers if it was summer. And that feeling. And there was something like that that pervaded the process of editing this record. I’m unburdening and setting off to work in a way. I think that it lends a directness probably to the record which might be what some people call a “pop feel.” Because it’s certainly not a pop record."

For Divers, I think her interview with The Stranger shares some fun bits about her process. Like this hilarious quote:

"I asked Newsom why she goes to the trouble of constructing such elaborate musical structures.

"The thing is, I don't know why," she said. "But... I do have a real belief that the exact right word—in terms of conveying meaning as efficiently and correctly and concisely as possible—will also be the word that agrees in terms of rhyme, musical weight, syllabic weight, beauty, and elegance. I think that words are magical. All of that effort is all about uncovering the word that is just sitting there waiting for you, and when you find it, it's like the equivalent of watching your team get a touchdown. It's just like WHOA. And you run in circles and say, 'Fuck yeah!'"

There are so many goodies! And her creative process is so fascinating!!

[hes-a-tough-kid]

I’ve been thinking a lot about how Spider felt when he hit puberty and started growing facial hair, making him even more different to the Na’vi. I wonder if he hated it.

Also the inherent tenderness of a boy trusting someone else enough to help him shave for the first time… something about it makes my chest hurt. I really tried to capture it in Foreign Body but there’s so much more that I wish I’d left space for.

[llycaons]

my sister asking for a $700 hair extension consultant service for christmas...be so fucking real

[bunnyisintrouble]

7, 29, 37

7: Are you rough or romantic?

I'm both (at the same time) 💕

29: Are you a giver or a receiver?

I'm definitely more a receiver than a giver... Is that a bad thing? But nothing stops you from forcing me to give anyway and correct that character flaw

37: Do you like teasing or being teased?

Fucking love teasing and my mutuals know this pretty well 💫

[wovenstarlight]

you ever have that one professor so good you're like i would literally do whatever was necessary to see you get promoted and then you do

[billpottsismygf]

.

[nexus-nebulae]

wait so i had a thought. so if you're transitioning to a guy you would usually be transmasc. and transitioning to a girl would usually be transfem. but like. what about agender. transnothing??

[darklight-owl]

"How has Layton not snapped from all the trauma" because his story is that of grief and acceptance. He's known pain and has suffered from it but after many years he learned to move on because life will continue whether he wants it to or not so he may as well make the most of it. He carries the painful memories with him but is also capable of seeing the beauty in life. He cries for his loved ones who have died but appreciates the people he has in his life now. Layton is an amazing character BECAUSE he hasn't snapped.