#it comes across as critical instead of a critique

[comicaurora]

A bit of a strange question, but if there were any of your videos you were to "remake" today for any reason (ex: you feel like you misrepresented the original text or spread misinformation), which would it be and why? None of them is a perfectly valid answer

Again: bit of a strange question, but I've been thinking about my own creations and how I could have done so much better with some of them, but I also know that is a sign of my growth and constantly chasing "what if I did this instead" isn't always healthy for nurturing a creative mindset, and I was wondering what your opinion might be as a Creator of Things with a bit more experience than I

There's been a few trope talks where I've thought later of other angles I could've explored that might warrant sequels or part 2s, but I don't dislike any of the summaries enough to justify a rework.

I always find "I could've done this better if I made it now" to be a bit of a fallacy. I'm only better at making things now because I made all those earlier things. If I knew everything I'd learn from making a project before I started the project, it wouldn't come out the same.

I think when it comes to the "rework remake perfect" instinct, it helps to zero in on what the impulse is really grounded in. In my experience, more often than not, it's not actually about making the art better, except incidentally. It's usually about showing that you are better. It's demonstrating your competence and your higher standards and your skills, and more importantly it's overwriting the proof that you were once less than perfect. If people look at your old work and think that's all you're capable of, they'll be judging you poorly!

If that's the motivator, it's a very unhelpful one. You can't control for being harshly or incorrectly judged. It's a fruitless effort to stave off potentially upsetting outdated criticism, and it's not even going to work. Fear of critique is an unreliable and untrustworthy motivator.

If it really is about making the art itself better, perfecting your magnum opus with your newly leveled-up skills, that's a little more solid. But from where I'm standing, it's always better to use those skills to make something new instead of polishing something old. The older, unpolished work has already acquired its audience that finds it appealing for reasons that might never occur to you. Trying to bury or overwrite it just deprives that audience of the thing they like, and maybe makes them feel bad for having liked it in the first place. Also, usually when you look back on the older work, you'll conclude that the problem is everything and it'll need to be torn down and started from scratch. I know when I revisited the first three chapters of the comic, when I let my critic brain spin up, it wasn't shading or lineart I wanted to fix - it was panel composition, overall pacing, the entire structure of the chapters as a whole. I would've had to make them all over again to be happy with them, and they wouldn't be the same story by the end.

I've been thinking a lot about the Discworld through this lens lately. It ended up over 40 books long, but everyone agrees that the first two are not what you should start with, because they're the worst ones. They're entirely parodic, purely referential of at-the-time major fantasy series, and borderline mean-spirited in places. If you haven't read Fafhrd and the Gray Mouser and Dragonriders of Pern, you're not gonna understand like a full 50% of The Colour Of Magic.

It's clear that when he started in on them, Pratchett was entirely focused on taking the piss out of a genre he found mostly shallow and unimpressive. But the Discworld wouldn't leave his head, and everything he made fun of he clearly eventually found himself overthinking. He'd make little one-off jokes in the early books about Dwarves having no women and a hundred words for gold, and then twenty books later he'd have a Dwarf gender revolution make waves across the Disc, and then he'd write Thud!, a book that delves deeper into the nuances of Dwarf societal structure than Tolkien ever did.

If you look for them, there are continuity errors everywhere in Discworld. In his introductory book, Carrot defused a dwarf bar full of rowdy brawlers by guilting them all into writing to their poor lonely mothers back home. Shortly thereafter, Carrot will be outraged at the mere concept of an openly female dwarf. Pratchett even eventually wrote Thief of Time, a book that loosely explains that the Disc makes no sense because history has been broken and put back together incorrectly twice, and therefore any continuity errors are because of that.

He's the writer. He could've gone back and fixed it, edited the reprints to be less disruptively discontinuous with the later books. Instead he continuously moved forward and allowed the world he made to grow without cutting it off from its roots. And because he didn't bury his older, far worse work, we have the privilege of following the Disc's evolution from the very start, and seeing how this shallow, stock fantasy world parody became something incredibly rich and complex without ever pretending like its early installments never happened.

Anyway, that's why I think it's better to move forward. You make more good stuff that way.

[storm-angel989]

How would vox and the other fees react to his 11 old being poet? She's young but wise? People a?ways say she's mature for her age aswell.

Hi there,

I’m assuming you mean Vox’s daughter! As a poet myself, this one took me back. 

Take a peek at what I’ve come up with and enjoy!

<3 Mandy

Vox leaned against the doorframe, his arms crossed as he studied his daughter. As usual, her homework had been tucked neatly into a pink manilla folder and left on the coffee table for him to review. Her clothes were chosen and laid out on her dresser, and all the small chores she was responsible for were complete- from her bed being made, to her dirty clothes in the laundry hamper. 

But of course, that was who she was as a being. Neat, tidy, responsible and organized in a way that made sense to her. At first it concerned him, just how mature she was for her age. Worried him that she preferred the company of her writing to a television. But she seemed to have friends at school, and go on playdates. With everything else seemingly fine, he had to accept that she was a writer. Plain and simple. 

As he stood and watched, he wondered when her next writing pause would be. It wouldn’t do to yell to get her attention. He could see from across the room that she had her ear buds in. And he didn’t interrupt her when she was focused so intently. So instead, he waited and watched as the pen she held scribbled across an open composition notebook.

“I don’t want to write on a computer dad, I need to see my mistakes- learn from them so that I can be a better writer,” she had told him when he first offered her a laptop. “Besides, I like pen and paper. There is a feeling when you put ink down, and doing things digitally just doesn’t work for me.” 

He supposed she had a point. And even though he was the overlord of technology, he preferred for her to limit her screen time- lest she end up with glasses like her Uncle Valentino. 

His next offer was to buy her fancier notebooks- leather bound, decorated, whatever she desired. Surly, she would prefer something pretty over plain composition notebooks. But much like the laptop, she politely declined.

“Daddy, I don’t want fancy books to write in. It just puts pressure on me to not make mistakes, and I don’t want that. I want the freedom to scribble and correct and edit without feeling like it has to be right the first time.” 

He watched as her pen lifted from the paper and she looked down. There. There was the pause he was waiting for. He strode across the room and tapped her shoulder gently. 

She looked up at him as she took her earbuds out. 

“Hi Daddy! Perfect timing, I just finished,” she replied excitedly. “Will Auntie Vel and Uncle Val be home tonight? I think I’m ready to share!”

“They’re already,” Vox replied as he kissed the top of her head. “Dinner is almost done. Do you want to read to us before or after dinner?”

“Before,” she replied quickly as she stood up. She gathered her notebook in her arms and carried it quickly out to the dining room. 

Vox followed behind, pleased at her response. The first time he asked her about her writing, she shut down. Eventually, he got her to share that she was embarrassed- self conscious about the things she created. In her words, to keep the mistakes to herself and learn by herself was one thing, but to share them with the world- even just her family- was another. It took quite a bit of  encouragement and love to boost her confidence, and devise a system that worked for her. 

He sat between Valentino and Velvette as she took her place in the center of the living room. They listened intently as she recited her written poem, snapped when she finished and waited for her to open the floor to feedback. Learning to accept criticism was difficult for most adults, but Reader seemed to relish it. The three Vee’s quickly learned that specific praise, questions and thoughtful critiqued resonated more with her than simple positive feedback. 

“I’m going to put my notebook away,” reader said cheerfully once everyone had said their piece. “And then I’ll be out for dinner!”

Vox watched as she practically skipped down the hallway. 

“You know, Vox, she’s quite the wordsmith,” Velvette said as she followed him to the dining room. 

“And mature for her age. Have we broached the topic of publishing?” Valentino asked. 

Vox nodded, “I did. She said she’s not ready yet and she just wants to enjoy her passion.”

“And passion it is,” Valentino mused. “I can respect that. She truly is quite talented.”

[eloquent-edits]

Hello!!!!

I'm writing a rivals to lovers office AU and am in need of some inspiration. Can you please do a list of office AU prompts? I don't mind if they get suggestive.

Absolutely! (Also thank you for being the first person to request prompts :3)

Character A and character B have issues with their work computers at the same time, and the poor IT guy has to deal with their bickering while fixing the computers

The printer is constantly breaking and A can’t help but snidely remark on B’s struggle every time it happens

B critiques A’s work whenever they get the chance, claiming A needs to do better if they want to get up to B’s level (the criticism is actually kind of helpful, just poorly worded)

B’s desk is across from A’s, leading to stare-downs when the other seems to be slacking on work and eyebrow raises when personal calls are taken

A leaves anonymous sticky notes on B’s desk about office drama, rumors, and random news stories to see what sort of conversations B likes (B usually looks at these with confusion, throwing them away buT THEY KEEP SHOWING UP WHY)

In the company project group chat, A and B don’t acknowledge each other outside of emoji reactions unless it is necessary

They are forced to work together on a major project with much longer hours than they expected, leading to sleep deprived A actually being nice to B in the mornings (they share a quiet moment at the coffee machine)

B’s ex comes into the office as another company’s assistant, and A can’t help but be concerned at the grimace and pain in B’s eyes

A starts using the printer incidents to ask about B’s history and get to know them better

A celebration at work includes a happy hour, so B dresses up just a little more than usual and A cannot stop staring

B notices A is lingering around their desk more and teases them about wanting to take their spot (A definitely wants to take them in a fight right?)

A’s car won’t start in the parking lot, so B offers to jump it… it’s the first time seeing B less professional (let’s get those sleeves rolled up and a couple buttons loosened from the button-down)

The AC breaks while only a couple people are in office, meaning it’s up to A and B to try and fix it while waiting on maintenance, leading to B on a ladder and A most definitely trying to not stare at their butt

C, an older friend at the office, retires and throws a massive party where A and B get a little too drunk, and B accidentally compliments A instead of criticizing them (A doesn’t know how to process it and B refuses to acknowledge this ever happened)

After A openly disagrees with one of B’s ideas, B confronts them privately, getting a little too close as A is stubborn and standing firm (give me that tension you can cut with a knife, give me that turn away because otherwise one of them will do something they regret)

B finds A asleep at their desk one morning and can’t decide whether to wake them up for the meeting or to let them sleep longer because this is definitely not normal for A

Turns out A worked their ass off to get a major promotion, one that B was eyeing for a while, which makes B jealous and get a little snappy

A is shifted to another area of the office and an annoying coworker, C, takes over the old spot. B finds the change welcoming and unsettling (“They’re not here to bother me anymore…” “That’s a good thing!” “… Yes. I suppose you’re right.”)

B is called into A’s office to discuss another coworkers’ weird behavior, which gives A the opportunity to call B out on their behavior around A

“It’s like on day one of me working here, you put a note in your calendar that said to torment me whenever you could.”

“You’ve gone from criticizing everything I do to actually being somewhat nice and helpful and then right back to being an absolute prick! I don’t understand it at all. What changed? You still seem to hate me, so why be so kind? Why?”

B doesn’t respond with words, just by slowly reaching out to touch A’s hand and swiftly pulling them into a kiss (ideally B would explain more later but that’s up to you hehe)

[hrizantemy]

Misogyny in “A Court of Thorns and Roses”

In the A Court of Thorns and Roses series by Sarah J. Maas, the depiction of the Inner Circle, while often celebrated for its camaraderie and strength, has been critiqued for subtle misogynistic undertones. These concerns arise from the ways in which female characters are often portrayed in relation to their male counterparts and the power dynamics within their relationships.

Power Imbalance: The male members of the Inner Circle, especially Rhysand, Cassian, and Azriel, often hold significant power and influence. Their decisions and actions frequently overshadow those of the female characters, such as Feyre, Mor, and Nesta. This imbalance is evident in various instances where the males make critical decisions with little consultation or consideration of the females’ perspectives.

Protectiveness as Control: Rhysand’s protectiveness over Feyre, while portrayed as loving, can sometimes come across as controlling. His tendency to make decisions on her behalf, under the guise of protection, limits her autonomy and undermines her strength and capability as High Lady. This dynamic is mirrored in Cassian’s interactions with Nesta, where his protective instincts can border on possessiveness.

Sexualization and Objectification: The series frequently sexualizes its female characters, often through the male gaze. Mor, in particular, is depicted through the lens of her sexuality, with her relationships and sexual history being focal points of her character development. This emphasis detracts from her other attributes and contributions to the group, reducing her to a sexual being rather than a fully fleshed-out character.

Lack of Female Solidarity: The female characters within the Inner Circle often lack genuine solidarity and support for one another. Their interactions can be competitive or dismissive, rather than supportive and empowering. This dynamic reinforces the idea that women must compete for the approval and attention of the male characters, rather than building strong, independent relationships among themselves.

Trauma and Healing: The handling of female trauma within the series can sometimes feel inadequate or insensitive. For instance, Nesta’s traumatic experiences and subsequent behavior are often met with frustration and judgment from the male characters, rather than understanding and support. This approach minimizes the complexity of her trauma and reduces her struggles to mere inconveniences for the male characters.

In Sarah J. Maas’s A Court of Thorns and Roses series, the women of the Inner Circle, despite their varying personalities and strengths, are often portrayed in ways that serve to elevate the male characters. This narrative technique subtly reinforces misogynistic themes, as it prioritizes the development and glorification of the male characters at the expense of the female ones.

Morrigan (Mor): Mor is depicted as a powerful and confident female character with a complex background. However, her character often serves to highlight the qualities of the male characters around her. Her loyalty to Rhysand and her role in the Inner Circle emphasize Rhysand’s ability to inspire devotion and trust. Additionally, Mor’s romantic and sexual history is used to create tension and intrigue around Azriel, showcasing his unrequited love and depth of feeling. Instead of focusing on Mor’s personal growth or independent storyline, her character is often framed in relation to the men in her life, making her more of a supporting character for their development.

Amren: Amren, another strong female character, is portrayed as ancient, powerful, and enigmatic. While she stands out due to her unique abilities and knowledge, her primary function within the narrative is often to support Rhysand and the Inner Circle with her wisdom and power. Her backstory and motivations are underexplored compared to the male characters, reducing her to a tool or a plot device to advance their arcs. This underutilization of her character reinforces the idea that her significance lies in how she aids the male protagonists rather than in her own right.

Feyre: Feyre, the protagonist, is depicted as strong and independent, yet her narrative is heavily influenced by her relationships with male characters. Rhysand’s role in her life, particularly his protective and guiding nature, often overshadows her own agency. Feyre’s development is frequently portrayed through the lens of Rhysand’s influence, making her growth seem dependent on his support and love. This dynamic subtly suggests that her strength and power are validated through her connection to him.

Elain: Elain is portrayed as gentle and nurturing, often in contrast to the more aggressive or assertive male characters. Her character’s arc revolves significantly around her relationships with her sisters and her love interests, particularly Lucien and Azriel. Elain’s role as the soft, delicate figure serves to highlight the strength and protectiveness of the men around her. Her narrative often lacks the depth and focus given to her male counterparts, reducing her to a figure who exists primarily to evoke their protective instincts and emotional depth.

Nesta: Nesta is initially portrayed as headstrong, proud, and often abrasive. These qualities, typically celebrated in male characters, are used to justify the intense scrutiny and punishment she receives. Nesta’s defiance and refusal to conform to the expectations of those around her, especially the male characters, are met with harsh consequences. This treatment suggests that a strong, independent woman must be “tamed” or “fixed,” reinforcing the idea that female assertiveness is undesirable and it’s where we see the undertones shine through.

Her path to redemption is heavily tied to her relationships with male characters, particularly Cassian. Her journey is framed around earning the approval and acceptance of these men, implying that her worth and progress are contingent upon their validation. This narrative device reduces Nesta’s complex journey to a quest for male approval, undermining her autonomy and personal growth.

Nesta’s sexual relationships are often depicted in a way that emphasizes her emotional turmoil and vulnerability. Her sexual encounters with Cassian, while consensual, are portrayed as moments where she battles her inner demons and insecurities. This focus on her sexuality as a means of exploring her trauma can feel exploitative, as it suggests that her worth and identity are tied to her sexual relationships. Furthermore, it perpetuates the trope of a “damaged” woman needing a man to help her heal, reinforcing outdated gender roles.

Her transformation and healing process are closely linked to the influence of male characters like Cassian and Rhysand. While she does undergo significant personal growth, much of it is framed through the lens of how these men help or challenge her. This dynamic reduces her journey to one that is dependent on male guidance and approval, rather than her own

Nesta’s anger and vulnerability are key aspects of her character, yet they are often portrayed in a way that vilifies her. Her anger is depicted as destructive and irrational, while her vulnerability is seen as a weakness to be overcome. This duality suggests that her emotional depth is problematic, reinforcing stereotypes that women’s emotions are erratic and need to be controlled or managed by others.

The recurring tropes and narrative patterns surrounding the female characters is a deeper, ongoing issue with the portrayal of women. These patterns, rooted in traditional and often problematic gender dynamics, reinforce underlying misogynistic themes across the series.

[miraculouslbcnreactions]

Having the statue scene be what caused Adrien to fall in love with Marinette feel like one of many spite moves from Astruc. Like once again, he saw how much people hated that scene but instead of addressing the criticisms he instead just point blank tries to force us to like the scene.

I'd go with arrogance over spite. I don't know much about the man, but the quotes I've seen and my limited knowledge of the industry are why my standard take is that he and the writing staff are genuinely trying to tell a good story. While we think they're failing at it, they don't. They think it's good. You're not going to sway me to their point of view, but I do understand how they could get into that mindset.

It's incredibly rare to get professional writers who want to punish the audience. It's incredibly common to get writers who are so far up their own ass that they think they shit gold and anyone who disagrees is just a hater who can't understand their vision. While that viewpoint isn't ideal, it's not a terrible trait for a creative. You're unlikely to succeed in a creative field if you can't get into some version of that mindset.

Speaking as a writer, if you want to succeed in a creative field, then you do genuinely need to be your own biggest fan and learn to ignore criticism. Not because you're above criticism, but because:

Issue 1: A lot of people struggle with the difference between personal taste and actual flaws, leading to some really shitty "criticism". That doesn't mean that it's bad to talk about a thing in terms of personal taste, it just means that your criticisms maybe be highly subjective opinions and not objective flaws that the creator needs to know about. It's why things like book reviews are for the audience and not the author. I know people who have found great reads based on negative reviews because those reviews talked about the book in question in an objective enough way for those people to realize it had things that they loved. That means that those were excellent reviews, they let people know if they'd like the book or not, which is what a review is meant to do! It also means that the reviews were pretty worthless to the authors because there was nothing that needed changing. It was all a matter of personal taste.

Issue 2: Taking point one a step further: more objective, "good" criticism isn't necessarily valuable to a creator. Sometimes creators are willing to include "flaws" because their creation doesn't fit their vision without those "flaws". Creators can get away with that because different audiences will care about different things and you're never going to be able to appeal to everyone. This is not the greatest example, but I think it gets my point across, so I'll use it here anyway. As someone who prefers reasonably healthy couples, if I were to read a story with an awful romance, then I'd probably hate it and have very clear, logical reasons why. But if the author is totally aware that the couple is awful and needed them to be such for the story they wanted to tell? Then my critique has no value to them. It's why good critique is so hard to get and give. Good critique is not about shaping a story into what you'd call good, it's about shaping the story the writer wants to tell into its best form. It's super hard, but also fun and a good learning experience.

Issue 3: A lot of criticism is highly situational and public feedback will only ever come after a work is done and available to the public. That makes it questionable how much value you'd get from reading feedback at that point. For an ongoing work where only a part is done, you might get something useful, but for a finished one? It's questionable if there's any point in reading negative comments. For example, I've received unsolicited critical feedback on fics that are several years old. I have no idea what the goal of those comments is. Even if I agree with them, I'm not going to rewrite the fic for them. I even asked one of them what their goal was and they couldn't tell me. They just wanted me to know and the button said "comments" not "positive comments."

Issue 4: You're never going to be perfect, so even a great work will have flaws, but it's unhealthy to dwell on them. Listening to a thousand people point out what you got wrong is not going to help anyone improve. That's why good creatives are open to feedback, but they tend to have a select group that they go to for feedback during the creative process. They then ignore most other feedback. In most cases, that is the healthy way to approach the creative process. It's why I don't agree with those who complain about someone blocking critics on twitter. Block and move on isn't just advice for the plebs. Successful creatives are allowed to prioritize their mental health, too.

Of course, there is a double edged sword in action here. Because creatives need to be their own fans and develop that ability to ignore criticism, they are always at risk of forming echo chambers that lead them to create lesser works because everyone in their core team thinks the same way they do. They may not even have a core team! It takes a lot of humility and luck to find people who give you good feedback.

The echo chamber issue is especially true when creatives are successful as it's hard to want to change when you're making money off of whatever crap you put out. Once you reach a certain level of success, there will be a whole lot less push back on your terrible ideas. If it's going to make money either way, then why worry if it's total crap? (This is a major problem in the publishing industry, btw. People with large social media followings can get a book deal with relative ease and publish almost anything they want because the publisher knows it will sell and it's not their name that's going to be looked down on.)

Generally speaking, this is what I think happened with Miraculous. The show is incredibly successful so there's no reason to listen to criticism or expand the creative team. Until the show stops making money, it doesn't matter how bad it is, so there's no reason for the writers to question if they've become blind to their own flaws. And by the time the show goes too far and stops making money? It will probably be too late to fix the problems so the show will just die. That's just how this trend works.

In summary, I would not be shocked if the writers genuinely think they're writing wonderful stories and that the critics just can't see it because we're the spiteful ones, not them. People can develop really weird standards for what is good, especially when they're immersed in the industry. For example, it's not like Disney wanted to ruin the Star Wars brand or have their 100th anniversary film - Wish - be universally panned. Studios want to make money. Writers want to tell stories people like. Spite it's rarely the answer when they fail to do those things.

The one caveat I will give to the above is if you're referring to the kind of spiteful arrogance where someone creates a thing, people criticize said thing, and so the person makes more of said thing in retaliation because that's 100% spite. But it's not the kind of spite where they're making a thing bad on purpose. It's them saying, "no, this was good and I'm gonna make more of it because you're wrong and I'm right." People do that shit all the time and, once again, it's not an inherently bad thing. Like all emotions, spite is a neutral force and a powerful motivator. It can lead to great things and terrible things. I can think of spite projects that were wildly successful and spite projects that totally flopped. (Relevant Tumblr post)

If that's the argument you're making when you say "spite", then I could totally see the statue scene choice happening because the writers heard people dunking on it and they went, "No, you're wrong, that scene was awesome! In fact, to show you how awesome, we're going to have that be when Adrien's crush started!" Spite? Yes. Ruining the show on purpose to get back at haters? No.

[muiitoloko]

Can you write something about Phil where he has an apprentice but not a young one, like someone a bit younger than him but not too much making some kind of reconversion and she is a bit awkward because maybe life wasn’t kind with her and she came back in her hometown with broken dreams and he is still the gruff character we know but in the same time he felt for her and of course she likes him too but he is always hard on her but finally when she has enough and decides to quit he tells her his true feelings and then there are a lot of fluff? I don’t know if it’s clear 😅

Title: Swept Away in Keighley

Summary: You returned to Keighley broken and defeated, but Phil's stoic presence and hidden passion reignite a fire she thought had long been extinguished.

Pairing: Phil Allen × Fem! Reader

Warning: None

Author's Notes: Thank you very much for your order. I hope you like it.

Also read on Ao3

The soft hum of the broom against the linoleum floor was the only sound in the barbershop as you swept the clippings from the day’s customers into a neat pile. The shop was quiet now, the last customer gone, but as you moved methodically across the floor, you couldn’t shake the weight that had settled in your chest.

Keighley. The town had once felt too small, a place you’d dreamed of leaving to make something bigger of yourself. But life had a funny way of turning dreams to dust, and after years of trying to make a name as an actress, you'd found yourself right back where you started. With a sigh, you looked around the modest barbershop, feeling that ache of regret. This wasn't where you’d pictured yourself, sweeping hair in a shop instead of taking bows on stage. And it wasn’t just the shop weighing on you. It was him.

Phil. You tried not to think about him, tried to brush away the pull you felt every time you looked into his hazel eyes or heard his gravelly voice. But that was impossible. He’d been the first person to offer you a job when you returned, shattered and uncertain, and over the past year, you’d come to know him better than you’d wanted to admit. You were his apprentice, the one he sometimes barked at for not folding towels quite right or leaving a smudge on the mirror.

But his exacting standards had only made your attraction worse. You wanted to please him, to prove yourself, and with every muttered critique or disapproving glare, it only made you crave the impossible—a sign that he cared, that he saw you the way you saw him.

Just as you finished sweeping, the familiar click of the back door echoed through the empty shop. You turned, finding Phil standing in the doorway, his sharp gaze fixed on you, his expression unreadable as always.

“Still here?” he asked, his voice low and gravelly. The sound of it sent a shiver through you.

“Just finishing up,” you replied, hoping he couldn’t see how your hands trembled as you gripped the broom.

Phil stepped forward, his gaze sweeping over the floor before settling back on you. “You missed a spot,” he said, nodding to a patch by the chair.

You flushed, biting back a retort. This was his way, always finding the smallest things to criticize. “I’ll get it,” you muttered, bending down to sweep the few stray clippings he’d pointed out.

But as you straightened, you felt his presence closer than before. He was right there, standing just a breath away, his eyes dark and intense as he watched you. Your heart raced, heat rising to your cheeks as his gaze held yours.

“You’re distracted today,” he finally said, his voice carrying that same low, gravelly tone, edged with something you couldn’t quite place. You didn’t have a chance to respond before he went on, his words soft but pointed. “Thinking about that silly dream of yours again, are you?”

Your grip on the broom tightened, the handle pressing into your palm. The words stung, as though he’d sliced into the most tender part of you with barely a flicker of hesitation. The “silly dream” he referred to wasn’t just any passing fancy—it was the dream that had shaped you, that had once burned bright enough to pull you out of this town. It was the dream you’d risked everything for, even if, in the end, it hadn’t risked anything for you.

He sounded like your parents—disappointed, tired, scolding, as if choosing to chase a life beyond Keighley had been some foolish whim. Maybe they hadn’t thought you’d make it out of here; maybe they were right, because here you were, sweeping hair in a shop that didn’t feel like yours.

Phil’s gaze was still locked on you, his eyes sharp yet distant, and you found yourself unable to look away. “I tried,” you muttered, the words slipping out before you could stop them. “I really tried.”

He sighed, the sound heavy, weary. “Not everyone’s meant to be a star,” he said, a slight edge of frustration in his tone, as though he was annoyed you hadn’t accepted this already. “It’s not all glitz and glamour. Sometimes, what’s real, what’s here,” he gestured vaguely around the shop, “is enough.”

But it wasn’t enough. It hadn’t been enough for years, and even now, the ache in your chest reminded you that it still wasn’t. You looked down, your gaze falling to the neat pile of clippings at your feet. It was just hair, discarded, forgotten—and yet, you couldn’t help but feel like you were staring at all the pieces of yourself you’d left behind to fit back into this town.

“Maybe for some people, it’s enough,” you replied, your voice barely more than a whisper. You didn’t mean it to sound like a challenge, but it did, and the words hung between you, thick with things unsaid.

Phil’s face softened, just a little, and for a moment, you thought you saw something flicker in his eyes—understanding, maybe, or regret. But he didn’t reach out, didn’t offer you comfort. Instead, he folded his arms across his chest, his expression unreadable. “Dreams have a way of fading, don’t they?” he said quietly.

You felt a lump rise in your throat, the weight of those words sinking in. “Yeah,” you murmured, barely able to keep the tremor out of your voice. “I suppose they do.”

Phil watched you in silence for a moment, his eyes shadowed, his mouth set in a firm line. And then, without another word, he turned, leaving you standing there with nothing but the faint hum of the broom and the ache in your chest for company.

The next morning, you walked into the barbershop, the familiar scent of hair products and aftershave filling the air. Phil was already there, standing near the counter, his gaze fixed on the clock, arms folded across his chest. He looked up as you entered, his hazel eyes narrowing slightly as they took in your appearance. There was something about the way he looked at you, something quiet and restrained, as though he was holding back more than words.

“Late,” he said, his tone curt, baritone voice rumbling low in the quiet of the shop.

You glanced at the clock yourself, confused. “Phil, it’s only five minutes.”

He let out a sigh, shaking his head with the kind of exasperation that felt heavier than it should have. “Five minutes is five minutes too many. I don’t pay you to stroll in whenever you feel like it. You show up on time, or not at all.”

His words felt like a slap, and you could feel your cheeks flush with a mix of anger and embarrassment. This wasn’t fair. You were never late; you were always the first one here, sweeping up the mess from the previous day, folding towels, making sure everything was in its place. Today had been a rare exception, but apparently, Phil didn’t care. He didn’t see the effort you put in, the long hours, the attention to detail. He only saw the one moment when you hadn’t been perfect.

You swallowed, feeling a lump in your throat as you clenched your fists, resisting the urge to snap back. “It’s just five minutes, Phil,” you muttered, trying to keep your voice steady.

“Five minutes, ten minutes—it doesn’t matter. You think you’re special? That the rules don’t apply to you?” His voice had a bite to it, his words dripping with irritation. His gaze was hard, unyielding, and you could feel it piercing through you, leaving you feeling raw and exposed.

Your chest tightened as you stood there, his scolding washing over you, each word weighing heavier than the last. It was as if everything you did was wrong, as if you were constantly falling short. No matter how hard you worked, no matter how much you tried to prove yourself, it was never enough for him. And today, that familiar ache in your chest only intensified, the resentment simmering just beneath the surface.

Phil’s eyes flickered, but only briefly, and then his expression hardened again. “If you can’t manage to be here on time, maybe this isn’t the place for you.” The words stung, cutting deeper than you’d expected, and you had to bite your lip to stop yourself from saying something you might regret.

But his words lingered in the air, sharp and unforgiving. You felt yourself bristling, the unfairness of it all boiling up inside you. You wanted to shout at him, to demand why he treated you this way. Why he always looked at you with that restrained intensity, only to push you away as if he didn’t care.

“Is that what you think, then?” you asked, your voice barely above a whisper. There was a tremor there, one you couldn’t hide. “That I don’t belong here?”

He hesitated, and for a fleeting moment, his gaze softened. But then he shook his head, as if dismissing the thought, his jaw tightening. “What I think,” he said slowly, his voice dangerously low, “is that if you’re going to work here, you’re going to do it right. No more excuses, no more mistakes. I don’t have time for people who can’t be bothered to keep up.”

Your heart pounded in your chest, anger and hurt swirling inside you, threatening to spill over. You’d given so much to this place, to him, and yet he looked at you as if you were nothing but a burden, something to be tolerated rather than valued.

“You know what, Phil?” You forced the words out, your voice thick with emotion. “Maybe if you weren’t so busy tearing me down all the time, you’d see that I actually care about this place. About you.”

His eyes widened, but he quickly masked it, his expression hardening even further. “You think I asked you to care about me?” His voice was harsh, biting. “This isn’t about feelings. It’s a job. You do it, or you don’t.”

Your chest tightened, the frustration welling up inside you. You couldn’t tell if it was anger, or the hurt that felt like it was suffocating you, or that simmering, unspoken desire you both seemed to dance around but never acknowledged.

“You know what?” you said, your voice trembling with barely-contained emotion. “I’m done. I quit.”

Phil froze, his eyes widening just a fraction as he stared at you, clearly not expecting your reaction. For a moment, the anger in his expression faltered, replaced by something that looked almost like shock—or maybe fear. But then, just as quickly, his face hardened again, his arms dropping to his sides as he straightened, his gaze sharp and guarded.

“Fine,” he muttered, his voice low, though a slight tremor betrayed him. “Go ahead. Leave.”

But you didn’t move. The silence between you stretched, heavy and thick, as the anger and pain settled into something else, something deeper. You met his gaze, refusing to look away, your own hurt mirroring his, your hands still clenched at your sides.

Phil’s jaw tightened, his eyes darkening as he watched you, his chest rising and falling with heavy breaths. “You think it’s easy?” he finally muttered, his voice barely above a whisper, rough with something raw and unspoken. “To stand here and watch you every damn day, knowing I can’t have what I want?”

The words hung in the air, and for a moment, the world seemed to stop. He took a step closer, his hazel eyes searching yours, his hand coming up to rest against the doorframe as if to steady himself. His expression was intense, filled with a longing you’d only ever dreamed he’d have for you.

“You have no idea,” he murmured, his voice thick with emotion, “how hard it is for me to keep my distance. Every time I look at you...”

Your breath caught as he reached up, his fingers brushing your cheek with a tenderness that took your breath away. His touch was warm, rough, but gentle, and you felt a shiver run through you as his thumb traced the curve of your jaw.

“Phil,” you whispered, your voice barely audible, filled with a mixture of hope and fear.

He closed his eyes, letting out a shaky breath as his hand dropped to your shoulder, pulling you closer until your bodies were just inches apart. “I’ve tried to push you away, tell myself it’s just a passing fancy. But it’s not,” he muttered, his voice rough, his breath hot against your skin. “I don’t want you to leave, love. I need you.”

You felt your heart pounding in your chest as he leaned in, his lips brushing against yours in a soft, tentative kiss that quickly deepened, filled with a hunger that had been building between you for far too long. His hands slipped around your waist, pulling you closer, his fingers digging into your back as if afraid you might slip away.

Your arms wound around his neck, fingers tangling in his hair as you pressed against him, every unspoken feeling pouring into the kiss. His mouth was warm and demanding, his lips moving over yours with a passion that sent a thrill through you, igniting every nerve.

“God, I’ve wanted you for so long,” he muttered against your lips, his voice a low growl that sent a shiver down your spine. His hands slipped under your shirt, his touch hot against your skin as he pressed you back against the door, his body pinning you there as he kissed you with a hunger that left you breathless.

You gasped as his lips trailed down your neck, his breath hot against your skin as he whispered, “You drive me crazy, love. Can’t get you out of my head, no matter how hard I try.” His hand slid lower, gripping your thigh as he pulled your leg up around his waist, his mouth finding yours again in a kiss that was rough and desperate, filled with all the pent-up desire he’d been hiding.

And as you melted into his embrace, you realized that maybe, just maybe, this small town, this modest barbershop, held more than you ever thought it could.

[mossbirdreigns]

i've been patrolling arcane tumblr

as i'm sure many of you have as well and i have some thoughts. some critiques if you will.

beware season 2 spoilers and discussion of plot discourse. very long post. but worth it. i think.

alright, if you're reading this, it's because you wanted to. welcome!

i've been brainrotting about arcane season 2 pretty much all day today and i wanted to ramble about my thoughts especially now that i've seen some of the criticism of it going around. so let's get the main points out of the way.

1. Plot Holes

saying season 2 doesn't have plot holes would be a lie and i highly encourage you to look into more about them, but i'll summarize the main ones real quick for anyone unfamiliar.

Silco and Vander

TL;DR: timelines around the day of ash (bridge massacre) don't line up. we've seen vander before the day of ash (clean-shaven/moustache + younger looking) and we've seen him on the day of ash (full beard + older). we know he went back to kill silco before the day of ash, which its implied silco had something to do with, but when we see the scene of it, he has a full beard again, implying it takes place after the day of ash

source: thenationofzaun

Silco and Vander and Felicia + how they connect to Vi and Jinx

TL;DR: in season 1, vi and powder/jinx show 0 sign of recognizing silco or knowing he exists at all before episode 3 but in season 2, we're led to believe that silco, vander, and felicia were all very close with felicia making them both promise to take care of her kids with vander even naming vi. even if we excuse the vi and powder not knowing him before episode 3, why would silco be so willing and actively trying to kill vi when he promised felicia to take care of her kids?

2. The (Implied) Love Triangle

alright here's the main thing i want to rant about. for anyone who didn't pick up on the vibes, i (and some others i've seen) definitely felt love triangle vibes during the silco/vander/felicia flashback scene and i wanna share my thoughts with you on that.

aside from the plothole issue of silco + vi/powder (the only way i would accept it is if the falling out between them all happened way earlier and they had like a friendship/situationship breakup so vi and powder never heard about him but i don't think that's what they're doing), i enjoy the idea and potential of vander and silco being vi and jinx's biological dads but i don't like the way the show is setting it up, mostly because of the glaring plot holes the rest of the scene creates. that single line from felicia saying they both were responsible for her kids in some way causes such an elaborate web of cracks across the story the show has shown us thus far. why is silco so ok with killing vi for like the entirety of season 1 if he was indebted by the death of a friend to care for her now orphaned kids? does that responsibility only apply to jinx for some reason? did he just not care about his promise to felicia anymore? is it because silco sees more of a physical resemblance to felicia in powder/jinx than in vi? these are all very valid theories but my issue lies with the fact that the show itself tells us none. we see the actions these characters are taking but we see very little of why. we get none of the context. all of these additional doubts and holes come in exclusively because of that scene in the last drop and, specifically, because silco is in that scene.

if that scene was just felicia and vander, there would be 0 plot ramifications. don't get me wrong, i love silco and i want him to pleeeaaaase have more screentime but not like this.

so how would i do it instead?

i'm glad you asked! i've compiled a brief list of ideas i've had.

felicia and vander talk at the last drop, silco and felicia talk separately (maybe a chance for us to see a more emotional side of silco)

silco is there for the conversation but draws back when vander takes more of a presence with baby vi (with the idea that silco would feel less connected to vi, though it still feels like a stretch to me)

have the scene at the last drop as normal but silco leaves after learning felicia is pregnant (perhaps upset because he's in love with her), and vander is the only one she talks to about taking care of her kids

make connol more of a character like at all??

(fanfic writers feel free to use any of these ideas, tag me if you do!)

at the end of the day, i think the issue with this season is honestly a lack of time. they need another season or two at least to fully and properly cover every plotline with the tact and skill they showed in season one. trying to cram everything they want to do into 9 ~40 minute episodes just is not going to work for the amount of shit going on in this show. if you're only doing two seasons and you have this many plotlines, your episodes should be at least an hour.

in a perfect world, i would've really liked to see almost a mirroring of format from the first season where the first three episodes were a flashback before the bulk of the story takes place but with vander, silco, felicia, and connol as the characters we follow instead. let us actually see what happened and how they died, lay it all out on the table and then jump us back to the fallout of the season 1 finale for episode 4.

i'm going to be 100% honest with you here. i do not really care for the hextech or the arcane plotlines. hear me out, i promise i don't just hate them.

i want to like both of these plotlines and there are elements of them i do enjoy. my main issue, again, comes back to the lack of time. there is wild shit happening at every second with what feels like zero downtime, leading to the writers having to leave out details that round out the story in order to get all the main plot in before they run out of runtime. i feel bad for the artists who put so much soul and care into the art they've shown us who have been rushed to cram everything in. they pull it off but i cannot ignore that they are limited by the pacing they've been given. i want to see viktor building this sanctuary, i want to see him gathering this influence, i want to see him learning to control these powers, i want intimate scenes where he talks with Sky about how this power is changing him. i want jayce for once in his life to think about someone other than himself. these characters have so much potential for the depths they can achieve but they're snubbed by the show's cut off and that makes me so sad!!!

let me spend a season with the zaunites, let me spend a season in piltover, develop those storylines, let them stew and manifest and brew, and then let season 3 truly be the beginning of the conflict between zaun and piltover and i guarantee you the emotional rollercoaster will be 12x what it is currently and way more satisfying. short stories are good but not when you're trying to pull off 4 stories in one.

if you read this far, thanks! if you have any thoughts on anything in here, my dms are open and i would love to hear other opinions!

i hope you have a good day, stranger ♡ stay strong while we wait for act 3

[yoongikapi]

Okayyy but neighbor Levi???

You just moved into a satisfactorily priced apartment complex in the near outskirts of the city. Not in the heart, yet close enough to where you can walk to the grocery store!! You go to the gym that's within the complex (win in this economy) and surpriseee, your neighbor his a hot, nonchalant-looking man.

Stolen glances because he thinks you're nice to look at…sarcastically criticizes your form as an excuse to be your spotter🤭

i actually giggled and kicked my feet at the idea of this i love it tysm <3

hot neighbor || levi || modern au! oneshot

fluff?

aot masterlist

finally. after days of unpacking, decorating, and a ridiculous amount of grocery store trips you were fully moved in. folding up the rest of your laundry, you come across a pair of gym shorts and instantly remember the gym you’ve passed a million times on all of your grocery runs. you remember it looking really nice from the outside, and figured you’d go check it out.

the smell of sweat instantly filled your nose as people moved around the space. you squeeze your way by a group of people to an almost empty area and begin your workout. after your second set, a faint ‘excuse me’ startles you and as you remove your headphone you’re met with a beautiful pair of blue eyes.

his stare is sharp and pierces through you, and his deep, smooth voice catches you off guard; “excuse me, is anyone using this?” he asks and points to the machine next to yours, to which you quickly shake your head “no, go for it” you go to put your headphone back in but he speaks again, “also, you need to lift your elbows more when you do that”

taken back by his comment, you just decide to ignore it and you end up moving a couple of machines’ away from him.

as you continue your workout, you notice his gaze constantly drifting your way, which you find rather distracting. yes, he was good looking but you couldn’t help but think he was only watching to see if your form was right as you exercise. when he wasn’t watching you, you were watching him. he was mesmerizing; the way he moves, the way he carries himself, all of it. your eyes meet through the mirror and you look away, but he approaches you again. and of course, with another critique.

“you need to spread your feet apart more when you squat”

you smirk, “so you’re watching me squat?”

he says nothing, but makes no move to leave. instead, he stands in a squat position himself; showing you how it’s done. “this is how your feet should be” he motions down to his feet and you follow his gaze. he suddenly has you step up to the squat rack, and before you know it, you’re squatting with him watching; as your spot for safety reasons of course.

that’s what you keep telling yourself as you watch him watch you through the mirror. his eyes are on yours and he has no intention of looking away. after what feels like a lifetime, you’re walking back up to your apartment and him keeping you company.

“well thanks for the tips i guess” you say as you reach your door, “but you didn’t have to walk me back.”

he smiles at this and walks across the hall from you, pulling keys from his pocket and unlocking the door across from yours.

“who said i was walking you back? i was just going home.” he smirks at your shocked face, clearly unaware he was your neighbor. your super hot neighbor.

“see you around, neighbor” the words roll of his tongue in a teasing manner and he’s in his apartment before you could say anything in response.

[starmocha]

This is just a love letter to the devs, because they are not celebrated enough for their achievements and genuine love for the game and players.

With the recent announcement of the upcoming update and new love interest's debut, It's truly been amazing to see how far the game has come from their years in development to the official launch to now, six months later. The game has evolved in ways unimaginable with no true comparison to other otome games on the market. The strive to always improve, to implement new features, to take into consideration their audience's critique and criticism is truly admirable.

The thought, care, and planning of just not the main story, but also for each individual love interest is unlike any other otome games I have played in the past. They are truly wanting to create an immersive experience—actual memories—for their audience, and it is working. We have grown attached and fond of the characters from the main love interests to even the side characters.

Take into the fact that LADS is a global game, the coordination that went into making sure news and trailer releases are happening concurrently for players across different regions is mind-blowing.

As with any company, controversaries will happen. They could easily ignore any controversaries that come along, but instead they have chosen to be transparent with their players, which in this case was about Sylus' leak. They weren't obligated to address the issue, write letters to the players, or even share the first unscheduled preview, but clearly they have discussed within the company on how to handle the issue and have concluded that this was a decision they felt comfortable with and was necessary on their part.

For all of the jokes and jabs about personal financial woes, I am truly happy to see where my hard-earned money is going. I've played otome games for years, and have rarely ever been a F2P player, so from a spender's POV, I feel satisfied knowing my money is going to the hardworking people that have developed this game and being reinvested into the game for the future.

Elaborating further on the previous point: we have writers for the story, artists, programmers, video developers, voice actors, marketing team, musicians, etc. Truly, I can't wrap my head around just how many people are involved and feel sorry that I can't personally sing praises to them all.

With all of the new features we are getting in the upcoming update, that alone makes me feel happy to see that my money is not just going to a business to make a profit, but that it is being reinvested into the game.

With so much contents being developed behind the scene, I have no problem being patient when it comes to the main story. The next development looks to be a truly exciting one well worth the wait.

Even the planning of the livestream was a joy to witness. Using the kitties (giving them personalities and voices), creating a "news broadcast", the script for the livestream, and the personal letter at the end from the LADS team—everything about it felt so immersive and the letter was truly touching to read. We are being spoiled in so many ways and it's truly disappointing that there is even a small group that can't see this.

Now with such a big update around the corner, they will most likely release another survey for players to partake in. Please remember that surveys can be used to voice your thoughts on the game: constructive criticism and suggestions allow the devs to reevaluate what is working, what needs to change, and what can be explored in the future. Don't ever feel like your voice is not heard just because you don't see any immediate changes. Let the devs know what you like, what you don't, and what you hope to see in the future. It truly does make a difference.

If you made it this far in my post, then I also want to acknowledge fellow players: you have all made being a part of this community a truly wonderful and joyous experience.

Thank you to the artists for the beautiful artwork and comics shared.

Thank you to the writers for their stories, headcanons, theories, and other works.

The jokes, the memes, and the downright silliness of this fandom have brought many laughs. We're such clowns, but we are clowns together ❤️

Thank you to the people who help share the news, address questions and concerns, and offer game help to players. This has truly been a very welcoming fandom, and let's strive to keep it that way. 🥹

Thank you to everyone who has ever interacted, even if it's just a reblog, dropping a comment, gushing in the tags, etc. The genuine joy and love for the characters and game is one of the reasons why I personally am still invested. I am always happy to see people showing excitement during events, reacting to posts, etc. I am especially truly pleased by the respect the Tumblr community have for each other. Let's continue to make this a safe and welcoming place for current and future players! ❤️❤️❤️

Feel free to hijack my post. I encourage everyone to add their own thoughts. It's been a wonderful almost six months with all of you. I hope this continues. 🫶

[weaselle]

if you want to give a critique to an artist, but are worried about how it will come across, a great way to be super chill with feedback is to do these 3 things

if you have access to notes or comments or messages already left, just take a minute to scroll through them a bit. If a hundred people have already said "you suck at writing relatable characters" maybe your well meaning advice to write more relatable characters isn't appropriate anymore.

use a compliment sandwich

use "I" statements

Compliment sandwich is easy. Find two things you like about the piece, and put your critique between them.

Example:

"what a great story, i really enjoyed the setting you've provided for it. I had a hard time making a personal connection with some of the characters, but I love the twist ending!"

So, sure, critical feedback can be hard to make palatable, but you see how two thirds of this is actually positive feedback. And the part in the middle is gentled by using an "I" statement, which explicitly does not say anything bad about the writing or the author -- not connecting with the characters could be a personal failure on the part of the reader, and this statement is phrased to acknowledge that.

That's what makes "I" statements a little trickier. The first step is simple, start your feedback with "I" to help you frame it innocuously

So like instead of "You Need to Write More Relatable Characters" or "None of the Characters Are Relatable" i might say "I Had Trouble Relating to the Characters" In this way you are not asserting yourself as anything but The Expert in What You Have Experienced (which we all know is true) instead of telling someone what they did wrong or what they need to do, as if you are An Expert in What They Are Doing

And it's better quality information. Imagine I said "You have trouble writing relatable characters" or "These characters aren't relatable"

But maybe this artist has had 100 comments about Relatable Characters and 78% of them are about how relatable they are. That means i'm actually wrong. They have written pretty relatable characters. So i'd totally be wrong.

Plus i'd be wrong in an accusatory way, and "this is what you should have done/this is how you've messed up" is something any artist getting feedback (especially online) has to kind of shield themselves against. Everybody has a way they would have done it "better". And you especially have to find a way to not give your energy to people are both wrong and antagonistic online. So being accusatory and wrong, even accidentally, even with the best intentions, is a great way for me to get ignored, or, if i catch the artist in a vulnerable moment, get clapped back. Or if they are new or very sensitive, hurt their feelings.

Whereas "I had trouble relating to the characters" is just, an accurate depiction of your experience. "I didn't notice the stop sign" doesn't necessarily mean there's anything wrong with the stop sign. Sure if a number of people say it, maybe do a little check up on the sign's visibility. But at the same time, "i didn't notice the stop sign" doesn't say the stop sign is wrong in any way, like, maybe you were just thinking about mashed potatoes and didn't notice the clearly visible sign, who is to say.

And that makes you helpful. Even if 78% of the responses that deal with character relate-ability are "these characters are so relatable" if, say, 17% of them are along the lines of "i had trouble relating to several of the characters, I didn't make a personal connection with them before moving on to the next character" it might help that author really dial in their characters for that story.

Now, just beginning your sentence with the word "I" doesn't make it what we're looking for, it's just a great place to start. What you're trying to make sure you do is Only Describe Your Experience, without giving advice or rendering judgement on quality or technique. Especially avoid anything that says "you should". Even indirectly.

You might be tempted to tell them something like "I feel like if I had more time with each character i would connect with them better" ... but this isn't actually the kind of "I" statement we want.

It's the same as saying "I feel like you should spend more time on each character" which is just putting "I feel" in front of a "You Should" statement, see how that works?

and If you say "My experience was i spent the whole story thinking about how you need to spend more time with your characters to make them more relatable" you're not really talking about how you experienced the story, you're telling them what they "need to do".

Avoid giving advice.

Even something like "I was kind of bored during the dialogue" is better than telling them what they should do. After all, maybe nobody else was bored during the dialogue. Maybe you were thinking about mashed potatoes and missed how good the dialogue was.

See a good I statement doesn't pretend to have the answers. Sure, taking more time with the characters might be a solution, but maybe there's a pacing thing I'm doing so i'd prefer to find ways of helping readers connect to the characters better in the time allotted.

"i had trouble relating to several of the characters, I didn't make a personal connection with them before moving on to the next character" alerts me to the issue while still allowing me to be the one to decide what to do about it. It doesn't say "I think you need to slow this down" it just says "i couldn't keep up"

And "I couldn't keep up" isn't accusatory or antagonistic or anything like that, so it's an easy more friendly way for an artist to hear feedback.

I did this example for writing because (looks at yet another long ass post) i love writing, but it's true of feedback on anything.

I hope people find this helpful. I didn't write this because of any bad feedback i've gotten (tho gods know i've gotten some bad feedback in my time).

I wrote this because i wish there was a more satisfying balance between critical feedback as the Monster as currently existing on most of the internet, and the Helpful Creature it could be.

I would like more people to feel comfortable giving critical feedback on my little writings. Like, I post poems and stories and like, idk, science and nature articles, and of course i am hoping for people to say nice things about them (and people do! thank you <3 ) but artists do actually often want feedback about the not great stuff too, if it's done politely. If i write a poem and nobody can figure out what it's supposed to be about, i kinda need to know that so i can grow as an artist.

And i feel like maybe there are a lot of people who are too worried they'll come off wrong or hurt someone's feelings, who want to make sure they aren't accidentally a part of the asshole hoard it's so easy to find in comment sections. And this is a great way to help make sure you don't accidentally come off like that. I hope it gives some people the confidence to leave some critical feedback on my writing in the future.

[rockanroller]

actually with bojack trending it pulled up a clip that reminded me of why i have issues with viv's writing/portrayal of her characters across Hazbin, ADDICT, and Helluva. bojack makes a statement that diane's book about him taught him that "as screwed up" as he is "that's ok" and of course he and diane's convo goes on about how that isn't the case but if "that's all he got out of their friendship" then it isn't a good relationship for either of them. but that first part is what reminded me of a shared criticism i have with many folks of viv's character portrayals across the board, here's my take on it... "they're screwed up and that's ok" feels like the through-line narrative that permeates all of viv's content. and that message in itself is a good one, that no one is perfect and we all make mistakes, that we need to practice empathy as viv has said before. but where bojack follows-through is it never forgives him. you may feel pity or sympathy for the harm he keeps bringing on himself, but ultimately he's held responsible for his mistakes in ways that tear his life apart repeatedly, and even though his trauma led to a lot of his problems, it was still his own decisions and actions that caused his downfall. viv's writing (so far) seems to lack that self-awareness. in Helluva we see brief glimmers of awareness, characters suffering consequence, decisions to be better, moments of growth, but they're often glossed over with a gag or over-turned in the next moment like the character is reset back to square one and didn't actually learn anything. the echoes of set-up are there, but there's rarely any follow-through on them. in ADDICT we're just shown "remember this asshole from the pilot? well he's a victim isn't that sad? : (" and that's it. not to mention merch and art romanticizing his abuser which creates more confusion like "wait are we supposed to find his abuser...cool?". across the board we're given very little reasoning as to why or even if we should like or forgive any of the characters in Hazbin or Helluva. fans who already know the characters will do their own projecting of the creator's intent. fans & general (adult) audience members who are seeing these characters for the first time in their animated debuts are left in the dark which is another way the writing fails. it comes off like we're expected to know everything viv/her crew know about the characters and the "hellaverse" by being in the fandom. reading the comic pages, attending streams, watching viv's twitter, being part of the patreon, reading trivia, etc. to piece together the bigger picture that the crew *should* be writing into the show *if* they want to appeal to a general (adult) audience. if they only want to appeal to their own circle/fandom then sure they can do whatever they want, they/their fans just need to accept that if that's the case, outsiders are going to be confused by no fault of their own. fandom could even welcome outsiders in by running them through the correct order of content, instead we get a lot of "how dare you say that bad faith critique you pos gtfo" attitudes.

[mywitchyblog]

Addressing Misconceptions (Again)

About this post of mine

Alright, it seems like once again, some of y’all have taken my words completely out of context, so let’s clear the air one more time.

First off, I didn’t make my previous post to attack all teenage shifters. I wasn’t pointing fingers at the entire group, nor was I saying that teenagers can’t shift properly or intelligently. My post was specifically directed at those who engage in hypocrisy—you know, the ones who criticize adults for age-shifting down while doing the exact same thing in reverse. The double standards are what I’m calling out, not every teenage shifter on the planet.

So, if you read that post and didn’t feel targeted, then it wasn’t about you. As the saying goes: If the shoe fits, wear it. If it doesn’t, move along.

Now, to those of you who are still convinced that I’m being “mean,” “vulgar,” or “hateful,” let me ask you this: Are you upset because of the way I said it, or because you got called out on your own contradictions? Let’s be real here—most of the responses I’ve gotten so far have been nothing but fallacies, where instead of engaging with the actual point I made, people decided to:

Attack my tone: Calling me “vulgar” or “hateful” is a classic ad hominem move. Instead of addressing the logic behind what I said, y’all are trying to discredit me by focusing on my word choice. You’re upset because I used strong language? Sorry, but the truth can be harsh sometimes. Focus on the substance of the argument, not the delivery.

Twist my words: Saying I’m attacking all teenage shifters is a straw man fallacy. I’m not out here claiming all teenage shifters are hypocrites or unintelligent. I’m calling out a specific pattern of behavior—the double standards that some (not all) people hold in this community when it comes to age-shifting. You know the ones I’m talking about: criticizing adults for age-shifting down while they age themselves up for the same reasons. If you don’t engage in that behavior, I’m not talking about you.

I made that post because this double standard is exhausting to witness. If we’re going to call certain behaviors “creepy” or “wrong,” then those standards need to be consistent across the board. You can’t shame someone for age-shifting down to relive experiences they missed out on while simultaneously aging yourself up to play out fantasies that fit your narrative. It’s the same thing, just flipped. If it’s problematic for one group, it’s problematic for everyone.

If the post triggered you, maybe it’s because you saw yourself in it. Maybe it’s because you’ve been playing the same game and didn’t like having a mirror held up to your actions. Either way, I’m not here to sugarcoat my points just to avoid ruffling feathers. If you’re going to critique me, do it with actual arguments—not emotional responses or complaints about my tone. Because the reality is, most of y’all aren’t engaging with the message, you’re just reacting to your own discomfort.

Speaking of Hypocrisy...

Now, let’s talk about another blatant double standard some of y’all are holding: shifting into fictional races vs. shifting into BIPOC identities. Some of you love to act all righteous, preaching about how wrong it is for someone to shift into a BIPOC identity, while at the same time, you’re out here shifting into elves, Na'vi, or other fantasy races, thinking that’s somehow okay.

Spoiler alert: Shifting into a “fictional” race is fundamentally the same thing as shifting into a BIPOC identity—it’s just wrapped up in a “pretty pink bow” of fiction to make it more acceptable for you. Whether you’re shifting into a BIPOC identity to explore different facets of life or diving into some fantasy species, you’re doing the same thing. The only reason you feel comfortable with one and not the other is because the fantasy version is conveniently distanced from real-world issues.

This brings us to another fallacy: special pleading. This fallacy happens when people create an arbitrary exception for something they are involved in while criticizing others for similar actions. For example, they might argue that race-shifting is wrong, but it’s somehow “different” or “okay” when they shift into a fictional race or species. The logic simply doesn’t hold up. It’s an inconsistent standard, and that’s why I call it out as hypocrisy. You can’t apply one set of rules to others while making a special exception for yourself just because you’re hiding behind a fantasy setting.

If you’re going to judge others for shifting into BIPOC identities, you better be ready to judge yourself when you’re out here shifting into an elf, a Na'vi, or any other fantasy race that’s just a dressed-up version of real-world cultures. The hypocrisy is real, and if you don’t see it, that’s on you.

If this hits a little too close to home, maybe it’s time to check yourself. The truth is, most of y’all are fine with exploring different identities as long as they’re neatly tied up in fantasy. But when it comes to real-world identities, particularly BIPOC ones, suddenly you’ve got a problem. The double standard is ridiculous, and it’s not just hypocritical—it’s exhausting.

Feeling Offended? Ask Yourself Why

So, if you’re feeling offended by my posts—whether it’s about age-shifting or race-shifting—then maybe you should ask yourself why. Because if my words make you uncomfortable, it’s probably because they’ve struck a nerve. You can’t keep applying one set of rules to yourself and another set to everyone else just to feel morally superior. That’s not how it works.

At the end of the day, shifting is about exploring different facets of ourselves, whether through age, race, or any other identity. But if you’re going to call someone else out for how they shift, you better be applying that same scrutiny to yourself. Otherwise, you’re just playing the hypocrite game.

So here’s your wake-up call: stop rewriting the rules to fit your narrative. Either own it across the board, or step off the ride. Because if you’re still pretending that aging yourself up is okay but aging down isn’t, or that shifting into a fantasy race is fine but shifting into a BIPOC identity isn’t, you’re the one with the double standards—not me.

[teardropvampire]

To give my thoughts on the fandom discussion of the handling of DID Mikoto/John's writing after the Double mv, I think my main frustration is just the somewhat black and white attitude many people have being viewing things with. In all honesty, I think the writing is complex situation that's a lot more then just 'good rep vs bad rep'. Instead, it almost could be better viewed through what the writing choices are attempting to explore/say about the character vs what ended up coming across to viewers? Its especially hard when we're only partially through the series, meaning a lot of your current opinion has to come from how strong your faith is in the series providing satisfying narrative conclusions to all the threads we've been presented with so far. But even then, I think its both fine to be uncomfortable with his portrayal or be satisfied with it - and that mixed reaction is generally what I've seen so far, particularly from viewers who are systems themselves. Its important for us singlets that we take into account the opinions of systems who are willing to comment on the character while also using our own critical thinking. Things seem to have been a lot better so far in that regard, which is great to see.

As for me personally? I have to say that I trust in the series to deliver nuanced and respectful writing. When you take a look at the series from a wider perspective, Mikoto and John's circumstances do tie into Milgram's exploration of societal issues in a way that I'd expect to be handled with care and empathy going forward. I feel the presentation of such flawed characters and the conflicts that can arise in our voting as a result of it can be applied to not just here but all the characters in at least some way. John isn't, and was never meant to be portrayed as purely antagonistic or monotonous, and I'm glad that idea has gotten more focus in this trial. This complex presentation of the cast's actions, as confronting as it often may be, have always been to help us understand and connect with the prisoners, rather than demonize them as foreign entities. This is particularly notable in Mikoto's case because of the divisive nature of mental health as a subject matter, but is definitely not the only occurrence of it in the series. However, Mikoto's case is definitely not perfect from a writing perspective and its important to be critiqued when necessary! Regardless of good intentions, trying to write a disability as complicated as DID will inevitably contain both steps forward and backwards. Although my opinion towards the handling of Mikoto's DID in this trial lean towards positive, It's completely justified to be uncomfortable with it and we should respect those who feel that way. But yeah, it's just slightly frustrating that I've seen people acting as if you need to decide between 'this is good rep, defend the series with your life' and 'this is bad rep, drop the series entirely'. Of course, learning to observe your own bias and look beyond restrained dichotomies of judgement has always been one of the series' main intent, so it's interesting in how it's shown itself again this time around. It'll be extremely interesting to see how both Mikoto and John are going to develop as characters going forward!

[princesssarisa]

I've decided not to write any more long posts about why some people don't like Disney's Belle. I've probably been dwelling too much in other people's negative thoughts that I disagree with. But here are the rest of the critiques of Belle's character that I've read, and my short, succinct thoughts on each one.

I still think it's very interesting that some critics think Belle is too sweet and gentle, too feminine, and not "strong" or "modern" enough, while others think she's too defiant, too "modern," and not sweet or gentle enough.

Her desires at the beginning are ill-defined: she wants "adventure" and "more," but has no specific goal. This is true, but personally, I don't mind it. Plenty of us don't know exactly what we want from life, but do know that we want more excitement and wonderment.

She does nothing but read and complain in the village; she makes no effort to achieve her dreams of adventure, and she never does any realistic peasant chores, which makes her come across even more as a spoiled rich girl. I think it's implicit that Belle and Maurice are too poor to leave the village – that's why Maurice sets out to gain fame and fortune with his invention. And I think Belle's never doing housework onscreen was part of Linda Woolverton's feminist agenda. Maybe it's not realistic, and maybe it's overly "second wave feminist," but I do think it was fair of Woolverton to want to break away from the Walt-era Princess model and not show Belle cooking or cleaning.

Her dreams of adventure are side-swept in favor of a mere love story. I think there are two ways of addressing this issue. One is to argue that her dreams of adventure do come true, just in a way she never expected. The other, supported more by the song "A Change in Me" from the musical, is that she does lose her dreams, but for the better, as she realizes her life doesn't need to be like a romantic storybook to be happy.

Her romance with the Beast isn't nearly as fleshed-out or as realistic as fans claim it is. This is subjective. Some people think it's one of the best-written romance arcs in cinema.

She affects meek politeness and plays games with Gaston instead of plainly refusing his advances. First of all, if Belle didn't care about politeness, she would be a hypocrite to criticize Gaston and the Beast for their rudeness. Secondly, Gaston is intimidating. Third, this is only the beginning of her journey – with the Beast, she arguably learns to stand up to someone who mistreats her, which lets her decisively reject Gaston and call him a monster later on.

She seems to blindly love all books without questioning their content, which could be dangerous, especially when the French Revolution arrives. Belle has no trouble thinking for herself. If she can open her heart and mind to the Beast, and loathe Gaston while the rest of the town adores him, then I'm sure she can tell good books apart from bad and dangerous books. And the fashions in the movie are such a mish-mosh that I'm not sure if it takes place before the French Revolution or after... or if the French Revolution will even happen in this fairy tale world.

She sacrifices her own needs for men. Yes she does, but it's not framed in a gendered way, and both the Beast and Maurice do the same for her.

She emasculates the Beast. Well, I'll admit that the Beast's arc isn't very empowering for him – that's the whole point, that he learns to give up some of his personal power and love unselfishly. But is that necessarily a bad thing? I'll also admit that sometimes, I feel troubled that the Beast lets the mob attack the castle and does nothing to protect his servants. Still, we probably shouldn't judge a character whose mental health is clearly suffering at this point: immobilizing, suicidal despair doesn't only exist in fiction, so we should think twice before we call it "weakness" or "emasculation."

She needs male characters to rescue her – the Beast from the wolves, Chip from the cellar. I respect the complaint that the Disney Renaissance movies still rely too much on the "boy rescues girl" trope, but there's no shame in needing to be rescued. Especially because in the forest scene, Belle is just one human facing a whole pack of wolves, and in the cellar scene, her father is rescued too.

She never uses her skills, knowledge, or passions to solve problems – the only purpose they serve is to unite her with the Beast. I think this is just a genre problem. The whole story is geared toward uniting Belle and the Beast in love, and every story beat serves that end.

She almost leaves the Beast to die in the snow and stays angry about the West Wing incident even after he saves her life. The former is only a split second, while the latter is only in self-defense when the Beast unfairly blames her for his injury. Besides, consider the context of how the Beast has behaved until this point!

She's a hypocrite for giving the Beast a second chance yet dismissing Gaston as a monster. She doesn't give the Beast a chance until he risks his life to save hers. If Gaston had done anything like that, she would have given him a second chance too, but he doesn't. Gaston is also far more cold-blooded and narcissistic than the Beast ever is.

She's to blame for the Beat's near-death at the climax because she reveals his existence to Gaston and the other villagers. Of course she is. It's explicitly framed as a terrible mistake and she openly blames herself. But it's an impulsive act of desperation to save her father, and she tries to explain that the Beast is kind and gentle. Until it's too late, it clearly doesn't cross her mind that the villagers could form a mob to kill him!

She plays a nurturing, motherly role to both the Beast and her father. I agree that heroines shouldn't need to be nurturing. But it's not inherently anti-feminist to be that way!

She's sidelined in the final battle. Yes, this is true, but her presence is still essential to the scene, and not every heroine needs to be an action girl.

Her portrayal falls short of the original Beauty's greatest virtues: her kindness, selflessness, and compassion. Belle still has those qualities, they're just combined with more "modern" ones (adventurousness, defiance toward unjust authority figures, etc.). Besides, Disney had already made several excellent movies about heroines defined by kindness and gentleness. What's wrong with giving Belle a slightly different set of virtues?

She's too traditionally feminine and ladylike. I think most of us can agree that "femininity" ≠ "anti-feminist," and anyone who thinks that way is a little misguided.

Her creators glorify her at the expense of the other Disney Princesses. I agree that it was unfair and mean-spirited of Linda Woolverton to imply that the three Walt-era Princesses are "insipid," but I do respect her insistence on making Belle a different, more "modern" heroine. And I agree that Paige O'Hara was mistaken when she described Belle as "the first Princess not looking for a man" (neither Cinderella nor Ariel dream of romance until they actually meet their princes), but I don't hold that against Belle.

She's too blatantly written as a role model – she doesn't feel like a real person, but like a living instruction manual for how a "smart," "empowered" woman should behave. This is valid. But I personally do think she seems like a real person as well as a role model, and I think she's engaging enough that I don't mind the obvious "role model" qualities.

[henrysglock]

Because they blocked me instead of taking it straight from the horse's mouth that they misinterpreted the entirety of Papa Warbucks, I'd like to deconstruct the other things that particular "critique" took issue with, which I had saved to my phone so I could address when I had time. I did that while I had them unblocked/before they blocked me, because honestly I did want them to see my explanations.

Alas, here we are.

Number 1:

This just in. No more daddy kink. Pack it up, guys...let's go home...the kink police are here...

Also, to be clear, it was Henry who did that in PW. It wasn't even something Martin suggested Henry do. Henry's just a little freak who likes to press buttons to see what they do because, in keeping with TFS, Martin refers to his father as Papa. Henry can tell Martin's got daddy issues out the wazoo, it's something they discussed not even half an hour prior, and the poor guy just. blurts it out. It's not like Martin was there rubbing his grubby hands together like "uhuhuhu can I coerce Henry into calling me Papa in bed? uhuhuh". It was very much something on Henry's end.

(However, regarding Henry's button-pushing when he's lacking inhibitions, see also: Henry addressing Martin as "Captain" as a joke, which is a play on the whole "Martin's dad wouldn't approve" thing from earlier in the night. It's a bit.)

Number 2:

Martin Brenner may have been a psychiatrist by trade, but that didn't mean he couldn't recognize a work of art when he saw one.

Martin loved his job, no doubt; the human mind was his passion.

Bro...this is what he does for a living. It's his career. He's never met a puzzle he couldn't solve. He's fascinated by Henry. What a terrible thing. A tragedy, truly, and godawful abuse towards Henry, too. /s

Also, here's the "pouncing on mommy issues and insecurities" in question:

"My mother would say it's one of those ideas that kept me out of the good schools." Oh, there's something. Martin wanted to tug on that thread. A bit daring, especially for a first (and possibly only) date, but it was worth tucking away for later. If there was something he loved, it was taking people apart like puzzles.

"I mean, it was a joke, technically...but it would be kinda interesting to find out what, collectively, is wrong with the lot of us." Martin's reply, in all its blunt, factual glory, was out before he could stop it. "Autism, primarily." The shocked blink that greeted him in the rearview narrowed into amused incredulity as they breezed through the parking lot. "Is this a dinner date or a diagnosis?" Henry snarked, the bite of his tone undermined by the teasing twist of his lips. "Did my mother put you up to this?" Nevermind. Threads exist to be pulled. The backstory lurking behind his date's doe eyes was proving to be an irresistible treat. "That's the second time you've mentioned your mother, Henry. Tell me—is she not pleased that you're attending to the best art school in the country?"

The man literally just wants to know the dirt on Virginia CreeI, yes because it will tell him more about Henry, but also because he's a nosy cunt who likes knowing about the Drama. What a crime. How predatory.

Henry gives it back in kind, though ("Is this a date or a diagnosis?"), and he's very much aware of Martin's tendency to play detective. Henry's not stupid.

Rein it in, idiot. Henry's inner monologue had always been his most scathing critic; it was no different now, as he rounded the front of the town car and willed himself to stop yapping. Forget being trans, this is why no one wants to date you. Remember what Mom said about you and emotional labor? Martin's a psychiatrist, he can smell that stuff a mile away—

And regarding seeing Henry as an experiment, here's the only section where that comes up:

I wonder who made him so reluctant to let people spoil him, Martin thought as he watched the young man across from him fiddle with his napkin. No doubt it's his mother. Perhaps it was the doctor in him, but Henry's attitude towards having money spent on him only made Martin want to dote on him more, to see if he could get him to accept generosity without attaching guilt to it. What had started out as the prelude to one nice meal for a pretty, starving artist was rapidly progressing into a full-fledged experiment, and the best place to start with an experiment was questions. "So, Henry," he broke the brief silence that had fallen between them, "What area of art do you study? Animation, painting..." As expected, the open-ended question had Henry tearing his eyes off the square of maroon fabric in his lap.

The "experiment" in question:

Martin views the thing in general as "how much money can I get away with spending on a nice young man", but there's also a definite aspect of him genuinely liking Henry as a person.

Rather, it was that he had no idea how much he would enjoy Henry’s company on its own, all else aside. He was awkward, obviously, but he was also funny and almost painfully genuine; there was a charm to it all that Martin suspected most people couldn’t evade. "You know, maybe I ought to take you back to Rochester with me after all," he mused, more to himself than to Henry...

Christ. Maybe he wasn't too far off with that basement thing earlier. He shook his head, a little helpless. I met him this afternoon and I'd already like him to be a permanent fixture in my life. I need to get ahold of myself.

And yes, the secret basement laboratory is a running joke. Henry started it.

“Is that funny?” “No! No. I just…You are taking me to dinner, right? You didn’t pick me up at a con to lock me up in your secret underground asylum and study my brain or something, right?” Henry’s giggles slipped into outright laughter, the awkward tension in the car ebbing away as Martin found himself incapable of restraining a smile of his own. “No, Henry. Unfortunately,” he sincerely hoped the young man in his backseat could read the sarcasm in his tone, “I don’t have an underground asylum to lock you away in.” “Oh my God, wouldn’t that be just the thing, though.” Henry cleared his throat and adopted what Martin assumed to be his best impression of a hoity-toity doctor, “‘Longitudinal Study of Midwest Comic-Con Attendees’ Brain Abnormalities’.”

What a travesty, overall. 500 lashes for James Henrysglock.

Number 3:

Girl (gn) please.

It happens 7 times (I re-counted), and one of them was "20-something year old boy" like. That's an adult. You ever heard of older people referring to younger men as boys? People calling it "boy troubles" even when they're in college? No? Okay.

You know how many times Martin refers to Henry as a whole-ass man, though? 12 times.

There's also a whole bit about Martin sitting there worrying because he didn't double check that Henry was old enough to drink. Everyone here knows Henry's a grown ass man.

Mountain of a molehill makin' ass. Christ.

Also, Henry is not at all naive. He knows what he's about.

See:

Henry making the choice, unprompted, to bring protection

He glanced at the bedside digital clock. Seven-ten. He could feel a ball of something nervous and fluttery taking root in the pit of his stomach, the kind that made him feel the need to shake like a wet dog to shed the excess energy. Oh god. Would it be too presumptuous of me to stick a condom in my pocket? He’d never even know if we didn’t…y’know. But if we did, maybe it would come off as thoughtful? Easy? Smart? Full of myself? The clock read seven-fifteen. Henry dug around in his suitcase and produced the single little foil package he’d stuck in there just on the remote chance someone wanted to screw him. It stared him right in the face, pinched between his forefinger and thumb. Better safe than sorry. Right? I should just. Hoo-boy. I’m doing this. Seven-twenty-two. Henry shoved the condom in his front-right pocket as fast as he could, like he was ripping off a band-aid.

Henry reading Martin like a fucking BOOK

Maybe he went into psych stuff to spite his dad, or maybe to figure out what his damage was. Maybe he was an army kid, I know vets aren't always chill about psych stuff. After all, he seems about the right age to have had a dad who went to Vietnam. ... I may have been right about him being a military kid. "What, did he expect you to join the army or something?" "Navy, actually. He was a captain himself, and I suppose he expected I'd follow in his footsteps." Henry wanted to smile at the fact that he'd been right, but he figured it wouldn't exactly be appropriate for the situation and briefly sucked his lower lip into his mouth instead.

What I believe that point from the "critique" is picking up on is that Henry's inexperienced. He's a virgin. He's 21. Thus, he doesn't know how sex normally goes. He's awkward. He doesn't know jack shit about wine selections, other than "cheap and fruity is best".

Also...I'm not sure if OP missed it, but "easily flustered" is one of Henry's BIGGEST character traits. He's a nervous overthinker, a rambler, a dog in a "NERVOUS" vest. He doesn't know how to take praise gracefully. He says cringeworthy things and immediately kicks himself over it.

And yes, Martin thinks it's cute. Because it is cutesy behavior. Read any sugar mommy/daddy fic, and I guarantee they'll see a flustered sugar baby as something worth fawning over. That's part of the genre, I fear.

As for people being under the impression that they're father and son? THAT'S ANOTHER RUNNING JOKE. IT'S A BIT.

It starts in the very first section with Martin being put off by Virginia and thinking that he'd put Henry up in a nicer hotel if he were in her shoes.

“Hilton? God, no. I was lucky my dad talked my mom into putting me up at the ‘8.” If he were my son, he’d be put up in a suite on-site, Martin groused internally. Logically, he knew it was irrational to try and coerce Henry into moving rooms, and that the Hilton likely had no rooms left regardless. That didn’t mean it didn’t irk him anyway.

And then Henry jokes about their age gap re: booze

"D'you think they'll card me?" Maybe Henry wasn't over the legal drinking age, then. It wasn't unheard of for someone to be twenty years old at the end of their junior year. Perhaps Henry was born in September and would be turning twenty-one shortly after beginning his senior year...or maybe he'd graduated high school early. He was attending a prestigious school, after all. Martin swallowed down and staunchly ignored the odd gut-punch feeling that realization came with, and peeked across the table over top of the menu. "Just precautionary, nothing more." "I mean," Henry cocked a mischievous eyebrow, "you could always just say you're my dad. That makes it legal, right?" Recovering quickly from the momentary shock of hearing a statement like that come out of his date's mouth (and as if he hadn't had thoughts along the exact same lines himself just that afternoon) Martin coughed a little and shook his head. "No, no. I'm afraid Indiana is a little too...conservative for parental permission allowances." "Eugh," Henry scrunched his nose like a bunny, vague disgust playing out across his face as he dug his wallet out, "That's a bummer. It's a good thing I'm twenty-one, then, huh?"

It's the same as going "Do I still pass for 12?" about a goddamn kids menu. IT'S A BIT.

Then, the server assumes they're related because of the age gap. This is a play on married couples being mistaken for blood family.

"Is this going to be on one card, or are you splitting it with your...son?" "...One card will suffice." From across the table, he could feel Henry's eyes trained on his face as he tucked his credit card into the folder. Son. That's...hm. Well. Third time's the charm, I suppose. "Very good. I'll have this right back for you." As soon as the server was back out of range, Martin let himself look back over at Henry, who was still watching him with a sly smile. "Not gonna correct him?" "I wasn't the one who suggested that I play your father on the off chance you didn't bring your ID." Henry shrugged with his eyebrows, a quick up-down of acquiescence. "Touché. Thank you for paying."

And Martin returns the joke that Henry started. IT'S A BIT. IT'S AN INSIDE JOKE.

And when it happens a second time, but without the ability to joke about it, Henry is offended and has half a mind to correct the receptionist before deciding it's not worth the time. (Because he's wise enough to know he's never going to see this person again, so why bother?)

"Creel? Room twenty-two? That room doesn't have an outstanding balance on it." "...What?" "Yeah. A man came by and paid it. He said he knew you. Tall, about six-two, maybe six-three? Brown hair, middle aged? The last name on the card was, uh..." he tapped a few keys, and then squinted down at the computer, "Brenner." Henry's response was out before he could stop it. "You're shitting me." "Nope. I have better things to do than lie to teenagers. Take it up with yer Pop." He would have sputtered indignantly, but he thought better of it when he realized it was simpler to just nod and go on his way than try to explain to the receptionist that no, Martin wasn't his father, he was some well-off guy he'd met at a comic con who seemed to have taken a special liking to him after they'd slept together.

Also, has no one ever heard of calling someone a child to be nasty to them/to tell them that they're being annoying? That is what's happening, here.

The "son" thing was a BIT. It was a JOKE. and as soon as Henry can't joke about it, he's upset by the assumption. He's not happy people assume the two of them are father and son. Christ.

Also, parting notes:

I sure hope you didn't keep those poor people held up for over an hour. Sounds fake anyway, like one of those old tumblr posts with "and everyone in the grocery store cheered".

Also...have you ever heard of the term "hate-fucking"? It's kind of a pillar of fandom.

Okay, that's all I have to say. Cheers!

[dragonroilz]

Hey there! I've come across your art ever since I got into Risk of Rain 2 (better late than never, I've been sleeping on this game for years, jesus), and I'm enamoured with it, to say the least. Is there any advice you could perhaps give for an aspiring artist?

you're getting an essay whether you like it or not.

tl;dr of it if you dont want to read

- learn how to take critique

- dont skip fundamentals

- tracing is okay*

- be mindful when drawing

- you wont see good results for a long time

ok firstly, glad you like my art! i try my best on pretty much everything i make so the compliment is greatly appreciated!!

secondly, you have NO clue how much i love yapping about how to draw. im not an expert on how-to-draw-ology but i like to think i know enough to help other people not swing in the dark when it comes to getting better.

learning how to take criticism is THE most important part. not getting butthurt or at least listening to peoples critiques when they mean well is critical to improvement because its specialized advice for you. you have no clue how many young and/or new artists have gotten mad at me for giving critique when they specifically asked me for it. if youre looking to improve you gotta bite that bullet. not all criticism is valid(dont listen to people who are just tryna make you upset), but good and valid criticism can come from anyone. dont unvalidate someone's critique just because theyre not an artist or "not as good" as you. try and get as much feedback as you can and move onto the next piece instead of fixing something to perfection. you will get obsessed in a very destructive way.

learning fundamentals is another step to getting better. that means actually learning perspective, hands, anatomy, and all of the other stuff people hate drawing. its like lifting weights. most people dont like it but if you want to get stronger you need to put in the time to do the painful stuff.

chris christodoulou(ror's composer) actually made a similar comment about the topic of improvement in his field that was along the lines of "if you want to write music, stop playing video games and read a book". he got a lot of shit for saying that but honestly its true.

you need to treat art as a discipline if you want to get better at it. draw as much as you can for as long as you can before it becomes a health hazard. when im not resting i tend to draw at least three hours a day, not counting the 3 to 6 hours additional hours a day i draw during college. obviously a beginner doesn't need to draw that much but drawing daily is a good start.

if you want resources on where to look for fundamentals, Sinixdesign and Ethan Becker were who I turned to for advice that is relevant to the industry. There's definitely others out there but I tend to do more self studying so i don't know the more recent stuff.

something that they'll bring up is that tracing isn't bad AS LONG AS YOU DONT POST IT AND CLAIM IT AS YOUR OWN. it's a good way to see how other people deal with stylization, but its absolutely not okay to post that stuff online. treat it like how traditional painters do master studies. its for your own education, not clout. and you shouldn't be drawing for clout anyway.

last but not least, draw what you love and you'll always love drawing. dont be afraid to hyperfixate and lose interest in things. it will help you continue your art journey. a lot of people in my art school have little to no motivation to draw outside of college because they have no interest in drawing outside of assigned work, which is not a great relationship to have with art if you want to pursue it in the long run. draw what you want to draw when the motivation hits you. if that motivation is risk of rain? draw it. if it's leg muscles then fuck yeah draw that too.

you can stick fundamental practice into your casual art by being mindful of what you are drawing. that can be done by asking questions about what's going on to further the progress of your art. its kind of hard to explain in text, but its basically just keeping in mind how your lines influence the piece.

in the beginning youre going to have ideas and none of them are going to translate to paper. its going to take years before anything will ever compare to whats in your brain and thats just the sucky part. ive been drawing seriously for about 5 or 6 years and theres still a ton of shit i do NOT wanna touch but i have to if i want to improve.

we're all sisyphus pushing that goddamn stupidass boulder and the only thing we can do is acknowledge how far we've come while still knowing that there's more work to be done. but thats kind of the shit that i live for.