#it plays on these common tropes just to subvert them

[gemsalive]

re: that HEFTY siffrin sweep on id5’s isat favourite blorbos poll — this might sound silly but i do actually think it’s kinda fascinating that isat, as a game so inseparably steeped in (for lack of a better way to describe it) queer fandom culture, managed to so completely sidestep the common Fandom Phenomenon that i suspect was behind the poll in the first place by creating a main character that is also overwhelmingly the fan favourite character for once.

obviously there are any number of factors we could point at to explain the extent to which siffrin nomiddlenames nolastnames manages to grab people and absolutely not let go, but personally i think one of the most interesting ones to consider is the one specific to the medium — that is, how siffrin subverts the “silent blank slate video game protagonist” archetype in such a way that happens to be primo brainrot breeding grounds.

like, when a video game dev makes a silent protagonist it’s usually a bid to maximize immersion by closing the aesthetic distance between player and character as much as possible, right? which is especially true of rpg video games — players find connection in the generic, as that is what gives you the freedom of motion to insert yourself into the story in whatever unique shape suits you best. you are your character and your character is you.

(as ever, post ran long. yall know the drill. tossin in a quick header pic before thoughts on blank slates & blorboification continue under the cut)

and then you’ve got siffrin, who is expressly pointed out to be the taciturn type; who when initially giving the player exposition about their journey so far doesn’t seem to hint at a life or history or even really any motivations outside the journey; whose every thought and action is narrated in second person so as to keep tracing and re-tracing the connection between him and you.

even their design — all darkless and shapeless, bundled up in that big cloak, as if an invitation for you to fill it in with whatever lets you relate to them most! at this point they are their own character for sure, but they also have enough very clear parallels going on with the silent protagonist archetype to feel more than accidental.

of course, as you keep playing you start to recognize that his blankness is much, much more than just a grab at immersion; his apparent lack of backstory, itself a fundamental piece of backstory. this is where he flips dramatically in the player’s perception from “generic vessel for story delivery” to “thoroughly multidimensional character trapped within endless torment nexus custom-built to target and exacerbate all his very specific worst traits rooted in very specific traumas”.

yknow, the good stuff !

but by then you have also been playing enough to be feeling the effects of the thing isat’s design does best of all. i’m talkin bout that ludonarrative lockstep baby. every piece of isat’s gameplay is designed to make you feel what siffrin is feeling — you understand by now that he is not a stand-in for you, but all the same you share in his frustration, his grief, his rare moments of joy and the subsequent heart-in-your-shoes devastation when that joy is inevitably poisoned — and through it all, the desperate grasping for anything new — all as if they were every bit your own.

so in this way the connection is maintained, even if you were someone for whom siffrin’s particular traits & struggles might not otherwise cause you relate to them at all if you had encountered them elsewhere, in a setting where you weren’t actively controlling them as a player. siffrin still gets to carry all the “just like me fr” impact of the blank slate protagonist in the tropes he embodies and in the game mechanics’ design, while totally free to evolve completely into his own character and keep you relating to closely them all the same. now toss back in the fact that said traits & struggles very much ARE of a flavour that a great many people Would Tend To Relate To and just like that you’ve got a perfect storm cookin.

too individual and compellingly written to be an empty vessel for plot delivery. too closely connected with the player’s emotional state to be a story observed impassively from the outside. he has 92 mental illnesses and for the low low price of free u can give him yours to carry too. nobody is doin it like him. congratulations on your well-deserved nose sniffrin nomiddlenames nolastnames <3

[befuddledcinnamonroll]

We Are and the evolution of Thai BL tropes

The QL discord started a rewatch of My Engineer a few weeks ago, and damn, has it been an interesting experience. At the time I originally watched My Engineer, there was little that stuck out to me, because so much of what happened felt so incredibly common in a lot of the (admittedly rather limited) number of BLs being produced. It felt like pretty standard fare.

But going back and watching it in juxtaposition with We Are airing has been so fascinating. This genre has been evolving, y'all.

As much as we all joke about always getting more university BLs, there is something to be said for a format that can be used as something of a metric for the genre. And though there's only four years between My Engineer and We Are, seeing them both at once gives me such an incredible appreciation for the direction the genre is going in, the impact of having more queer voices involved in the creation of QLs, and how there's a lot of good we can find in seemingly simple spaces.

Obligatory disclaimer: This is just my perspective and subjective interpretation of what I have seen as a BL viewer of some time; also I don't have time to go in and do a university deep dive, so this isn't a real analysis, but more of a brief writeup of observations.

Trends are not black and white, of course, there is a spectrum. I'm sure we'll suffer through more Dinosaur Loves. At the same time, having such predominant production companies as GMMTV putting effort into hiring queer creatives and subverting old cliche tropes is an encouraging thing. (Especially as they were the creators of the original university trendsetting BL with Sotus).

Note: For newer QL viewers, I highly recommend @absolutebl for brushing up on trope history. For university BLs in particular, this post and this post are great starting primers.

Let's talk tropes!

Ok, one more note - some tropes are being what I would consider subverted, some more adapted to a newer framework, and some just played with - I'm going to talk about how they appear to me, but I'm not going to be super pedantic over it, because this is just for fun.

Trope: Bullying/hazing behavior

This did not age well in My Engineer, and I would guess hasn't aged well in a number of BLs (and other media, because the whole "he's mean to you because he likes you" bullshit has been around forever). Not just because the behavior was shitty, but because it was played off in the script as cute, and implied that it was completely justified for the seme to do whatever he wanted in his pursuit of his uke.

(There was also quite a strong tone of internalized homophobia, with the lead feeling more comfortable in expressing his interest through harassment than honest emotion, but the show never actually engaged with that in any meaningful way.)

We Are sets up a very traditional enemies to lovers/bullying start to the story, with Phum taking advantage of Peem's economic situation to make him his "slave".

And yet... there's some important elements here that make this more than the standard use of the trope.

Phum keeps it pretty light in his bullying behavior, and clearly is using it more to keep Peem around as company, versus the kind of bullying in My Engineer, where Duen is literally hit by a car, and yet still expected to keep jumping to Bohn's whims.

As soon as Phum realizes he really upset Peem by leaving him waiting at the mall, he genuinely feels awful about it. It's clear that his intent is not to cause harm, and that he has a conscience. He wrestles with his feelings on it quite a bit, and it ends up being the thing that gets Phum to finally express an honest emotion with Peem.

And most importantly, the script does not let him off the hook. His behavior is bad, and is identified as such by the writing. Peem pushes back and is shown to be right to do so, Beer openly says he disapproves.

So instead of a cliche story beat that's used just to start the action, or a seme who's allowed to do whatever he wants because "passion" (blech), we're seeing it used for characterization, giving us important beats about who both Phum and Peem are in how they engage with each other through the use of the trope.

Trope: Obsessive/jealous behavior

Oh, this one was painful in My Engineer. Duen couldn't even talk to another human being without Bohn getting jealous and angry and dragging him away.

Phum gets jealous, particularly around Kluen, but what makes it feel so subversive here are two key things.

Phum's jealousy has a purpose here, it's not just for drama's sake. It's not the cliche seme doing whatever he wants and being treated as justified. It's deliberately being used to explore his insecurities, and give him a challenge to overcome. Phum doesn't stomp over and drag Peem away, he retreats, he hides. When his jealousy causes him to lash out at Peem, he is immediately aware he fucked up.

And again, the script is making it clear that this behavior is not ok. Peem chides Phum when he acts unkind to Kluen, and Beer makes it clear that the solution is not petty behavior, but actually figuring out a way to communicate his feelings with Peem before he misses his chance. This is portrayed as a barrier for Phum to overcome in order to be with Peem, not an expected part of a romantic relationship.

Trope: Friendship group

There are not enough words to express how much I love the friendship group in We Are. To be fair, this is one of the better historical tropes. We've gotten a lot of amazing friend groups, even in mediocre BLs.

But it's still different in We Are, for one simple reason. In most university BLs, the friend group is a supporting structure. But here?

The story lines may be about the romance, but the point of We Are is the friendship.

I will die on this hill, y'all.

I don't have enough time to go into it fully here, but this show is a love letter to friends. It's a tribute to finding the people who see the real you and have your back unconditionally. Who cheer your successes and commiserate over your defeats, who pick you up when the world knocks you down, who call you out when you make mistakes, and push you to be better.

And romance is lovely, but all of these budding relationships are about being friends first, and then lovers, because that friendship is just as important as everything else, if not more.

Trope: Pink milk

Lol, ok, kinda kidding, kinda not. I know we all got mad over the drink wastage, but also check out these visuals - it's about diversity baby!!

TanFang speed round

My two little trope-busting bebes. These two are already so beautifully non-traditional in their composition, but I love how frequently they are used to make fun of and play with tropes just on their own.

Introduced as pining crush/friend's older brother pair, but actually secret enemies to lovers.

Grumpy/sunshine pairing, where the sunshine used to be a fighter, and grumpy smiles when he thinks no one is watching.

Wound-tending where they keep poking each other instead of acting soft.

Openly mocking the jealous boyfriend trope.

Setting up the possessive trope when Tan doesn't pick up Fang's calls, only to immediately have Fang question if he's being unreasonable.

Setting up their own cute eating scene for kicks.

"First time" sex scene making it clear this is anything but their first time.

Tan holding Fang down in the cliche possessive pose, only for Fang to take the agency of kissing Tan. (And overall saying eff off at the cliche top/bottom roles old BLs were such a fan of).

In Summary

I'm sure there are more tropes that will come to me, and we do still have 5 episodes left of We Are, so there are some potential trope uses that I am keeping an eye on. This is by no means an all-inclusive list.

But I wanted to write this, because I was genuinely shocked to realize how different my My Engineer watching experience was this time compared to my first time. How over the last few years I'd come to expect more thoughtfulness in my QL media, even in the ones that seem shallow on the surface.

Considering how fast and furious the QLs are coming these days, it's easy to forget how recent it was that we were much more starved of content. And I think sometimes we forget to take in the big picture, of how far we've come in just a few years.

Critique is always going to be important, of course, it's part of what helps us make progress. At the same time, it doesn't hurt to take a moment to look around and see some good in where we are.

@sailorbryant thanks for the push to get this written! Feel free to add thoughts!

[lurkingshan]

Helloooo, Shan! This is a bit out of left field but it’s something I’ve been wondering for a while. BL has developed more as a genre and shown itself to be increasingly sociopolitically aware (whether or not it effectively engages with that awareness beyond marketing is another thing), do you have thoughts on any sort of progression of how women and girls have been portrayed? Or observations on the general state of women and girls in BL? It seems to me their roles have become meatier, not just one-dimensional femme fatales or fujoshi. Or am I projecting a false narrative of genre evolution? 🤔

Hey Megan, thanks for sending! I love an out of left field ask. And I agree with you, I do think there has been a clear evolution in the way women characters are portrayed in BL, and I have been making note of it where I see it.

It used to be that female characters in BL were mostly just there to be antagonists, either as villainous femme fatales trying to break up the couple (like Plern Pleng in TWM) or fujoshis inserting themselves into the main couple's relationship in really inappropriate and fetishizing ways (like Pang in Love Sick). Even the precious few decent women characters from early BL (like Manow from UWMA) are still really only there as side characters who provide support to the boys and/or a bit of comic relief. Women in early BL were either problematic or kind of an afterthought in the narrative.

But more recently there have been BL dramas featuring women who are more fully fleshed out and actually a crucial part of the story. This is not linear and consistent, of course--there are BLs airing as we speak, like Knock Knock Boys and Blue Boys, that are still relying on women as primary antagonists--but there has been some growth. Here are some of the characters I find particularly notable in regards to the role they play in the narrative:

Ae Ri, The Eighth Sense

Ae Ri was a notable character because the narrative set us up to think she was going to be a typical femme fatale. She seemed to like Ji Hyun and we were naturally inclined to assume she would be an obstacle to him pursuing Jae Won, until the show completely turned that on its head and made her a knowing ally instead. It was a delightful surprise and she remained an important support and get a grip friend for Ji Hyun throughout the story.

Nara, La Pluie

Nara is another in the category of the subverted femme fatale trope, but this show took that much further by writing her with so much empathy and making her a fully fleshed out character with her own arc and even the start of a new romance by the end. It is still the best treatment of an ex-girlfriend character I have ever seen in a BL.

Fujisaki/Pai, Cherry Magic

Speaking of trope subversion, let's give a shoutout to these two corrective takes on the fujoshi archetype. Each version of this story did it a bit differently, but the common thread was that Fujisaki and Pai only wanted the best for their friends, and kept a firm line on how much to interfere in their relationship. Fujisaki is gentle and kind, offering small encouragements and nice gestures. Pai is much more of an enthusiastic fangirl so I was a bit weary at the start of her story, but the show used her fannish interests as an opportunity to model respectful fan behavior and I was quite pleased in the end.

Yiwa, Wedding Plan

And of course, I have to mention the current title holder for best female character in a BL, Wedding Plan's Yiwa. She is not only a great character in terms of having a fully formed personality, clear motivations, and a great set of relationships, she is also the engine that drives the entire narrative. I am still kinda amazed she exists.

This is separate but related to the recent increase in GL content and GL side couples in BLs, which is also getting steadily better. And I want both! I want solid GL dramas where the girls own the narrative, and I want BLs to write women better when they choose to include them in the story. I'm encouraged by the progress we've already seen.

[mirageofadesert]

Female Power Done Right: A closer look at Pian Ran from TTEOTM

The seductress: regulating sexual morality

Female characters have always been stereotyped in popular media. While this isn't limited to the portrayal of women, it has affected them disproportionately and usually in a negative way. There are a number of common stereotypes of how women are portrayed, such as the virtuous woman, the seductress/femme fatale, the Mary Sue and more. While I don't want to say that TTOETM doesn't rely on these kinds of stereotypes to tell its story, the show does get some things right when it comes to its female characters. Pian Ran is the best example of this.

Most temptress are villains, because female sexuality is often framed as something negative, something dangerous. Sexual morality serves to regulate gender relations, for example through various sexual taboos and prohibitions on premarital and extramarital sexuality or homosexuality. In the major religions and many cultures, sexuality is traditionally placed in the service of procreation. In the ascetic-monastic traditions of Hinduism, Buddhism and Christianity, which are characterized by sexual renunciation, sexuality is equated with ignorance, desire, attachment or sin and is considered an obstacle to salvation. As women are identified more strongly with physicality than men, sexuality and instinctually in all the religions mentioned, the widely received stereotype of the sexual seductress emerges, which has been used to justify a wide range of discrimination.

Therefore, seductresses are not about female sexuality, they are (through the male gaze) objects of sexual desire for men, while also being a negation point of sexual morality. Virtuous women, especially protagonists, are often sexualised, but not portrayed as sexual beings. In contrast, sexual women are often the competition of the main character. They tend to use their physical attractiveness to attack or steal the main character's love interest, or to overpower the hero with their evil tricks. For this reason, they are often associated with animals that are seen as deceitful, cunning, poisonous or dangerous (e.g. snakes, scorpions, foxes).

At the first glance, Pian Ran fits this archetype well. She is a fox demon, who feeds on the life energy of men. She seduces them, using their sexuality for her own gain and entertainment. Pian Ran also dresses "provocatively" and doesn't conform to social conventions. When we first meet her, she is playing the historical version of strip poker, not just for the money, but because the desperate men amuse her. In the same episode, she forces Ye Qingyu to accompany her to the market and uses her sensuality to throw him off balance.

However, Pianran also subverts this trope. Her sexuality isn't portrayed as something negative, it's accepted by the people around her. Ye Qingyu never judges her for it, even though he is the polar opposite. Ye Xiwu never looks down on her either, instead she comes to him for advice and even flirts with her.

Sun Zhenni's performance deserves a lot of praise. Her sexiness doesn't feel "sticky" or "creepy" to me, like many other characters of similar type do. She has a natural sensuality that isn't over the top, more sassy than naughty. You can tell that she studied her character a lot and tried to portray her as nuanced as possible.

Pian Ran is also much more than just another fox demon and seductress. She is a complex character. But her main theme isn't really seduction - it's working life.

Pian Ran vs. work life

This theme runs throughout the drama, from Li Susu offering her a letter of recommendation for a particular sect when they first meet, to Pianran's work for Tantai Jin - and her resentment of it.

She has to work to survive - literally, as Tantai Jin tricks her into believing she has swallowed a pill that will give him control over her life. "Take the pill", which will change your life and take away your freedom, is also a reminder of how certain drugs and their side effects work. While she's not without a certain amount of freedom and has her own command within the Jing Kingdom, she's tied to Tantai Jin's command and rigorous work schedule.

Our girl is a for sure a regular on r/antiwork...

This theme makes her a relatable and likeable character. It also shows how her character is a comment on current social issues, beyond gender roles. This is one of the strengths of TTOETM, it’s strong social and moral message that goes beyond the plot of the drama.

Pian Ran vs. love life

As a character, Ye Qingyu is the opposite of Pian Ran: Virtuous, very righteous and rigid. But he never judges her for her behaviour, he always understands her and gives her space. And most importantly, neither of them changes who they are as their relationship progresses. She doesn't suddenly become a modest woman, he doesn't turn away from his ideals - except maybe in that cut arc in Jing Kingdom in the 3rd arc.

In many ways, Ye Qingyu and Pian Ran embody the classic trope of the seductive and virtuous hero: she affects men in a certain way that causes them to stray from the straight and narrow or interferes with their domestic arrangements. For example, when he spends the first night with her and thus neglects his duties as head of the family, or when she contributes to his changing sides and joining Tantai Jin. In short, she is disruptive.

When she advises Ye Xiwu/Li Susu on how to seduce Tantai Jin, she suggests various manipulation tactics to gain his attention and favour, but Pian Ran also gives genuine advice - to both of them, actually (although sometimes it's my accident).

One could make the argument, that they were aiming to frame her initial strong sexuality as a coping mechanism due to the loss of her husband and love threads. The absence of her love threads manifests quite different to Tantai Jin, mainly in form of attachment issues.

However, the show doesn't try to make a point about female sexuality by emphasizing a change in Pianran's behavior based on finding the right man. If anything, it's Ye Qingyue who meets her halfway by having a premarital affair. What I like most about their relationship is that they are each other's equals. They both have high ranks in Tantai Jin's kingdom and army, and he listens to their advice and treats them equally. Moreover, Pian Ran is never a damsel in distress. Even when Ye Qingyue dies for her, it is because she was blindsided by the attack while she was winning her own duel. In the end, she shares the fate of most seductresses who disrupt the social order - she dies (if they don't join a convent). The difference is that her death is a tragedy and not framed as a regulation of sexual morality and gender relations.

Female Friendship

Before I dive into the relationship of Li Susu and Pianran, I want to comment on the common dualism of the sensuous vs. the virtuous woman. Li Susu (or Ye Xiwu) is not the virtuous heroine, it’s (again) Ye Bingchang mirroring Pian Ran. This is something that subverts the whole trope! It's the virtuous woman who become disruptive and falls from grace, while Pianran becomes a righteous heroine. However, while Pianran doesn't become virtuous, Ye Bingchang tries and fails to use seduction to manipulate Tantai Jin. She also has an additional set of love threads that make her seductive to men without using her sensuality or sexuality. It's a fascinating dynamic. As I said, TTEOTM is not a perfect show with a feminist message, but it certainly tries to subvert gender stereotypes - and not just with its women, but that's another issue.

Pian Ran's third important role in TTOETM is that of Li Susu's friend, who supports and guides her. What makes their dynamic so interesting is that while Pian Ran looks younger than Li Susu, she is considerably older (well, if you count age by years lived, not by date of birth). They are flirtatious, they share a horse and a bed, and they pass the Bechtel test! Li Susu even risks her health to cure Pian Ran of Tantai Jin's blood curse.

Both subvert gender expectations in their own way. They are strong characters without abandoning their femininity. The empowerment and the feminist ideas, they are embodying, also come natural to the storyline and are not just tropes. Therefore, they are relatable characters for a modern audience (except when they are not).

Edit: Got rid of some spelling mistakes!

[ranticore]

answering an ask from @coyoteworks under a readmore because it's mildly spoilery for said the black horse :)

Coyoteworks asks: ive been sitting on this one for a while because its so in my head.. i really like how you write the werewolves in mvf. it really taps into my love for examinations of human and animal behavior, because as much as i love when a character goes 'berserk' in some way like a werewolf or monster transformation of any kind, i often feel like the execution of it being a result of a well of hidden evil is a bit too 'easy'... when bowman first turned i genuinely sat forward because i was so fascinated & delighted by his behaviors. the idea that these werewolves, with their reputation for being cruel and vicious, known for having the intelligence of man and the bloodthirst of a predator animal... arent actually all that vicious the first time they turn... it's just a really lovely take on what our "base" instincts actually are, and that cruelty is a learned/taught trait rather than an inherent one... same goes for jean's first transformation, and his fear, and bowman willingly turning to ease that fear and communicate as wolves... aughhg i just love it so much... the boys are playinggggggg

---

Answer:

I have to confess to being a little bit spiteful when I formulated those werewolf portrayals... I find that the idea of what a werewolf IS has been turned into almost a fandom in the sense that if you go against their established rules, it's decried as not REALLY a werewolf or a dilution of werewolves etc. And I find that really interesting; once I saw an entire rec list of werewolf media by a fan of werewolves who was deeply dismissive and disgusted by works which didn't have the werewolf being a rampaging beast every full moon because, to them, that was the whole point of a werewolf. To not have it be that way would be like making a vampire that doesn't drink blood. The narrative is that it's always about the fear of some primal bestial anger or energy inside oneself and that this is a struggle of man vs evil primal nature.

But it also strays close to something i also don't like about a lot of 'fae' tropes which is that it becomes played out, tired, predictable, and let's all be so honest with ourselves a lot of werewolves are the way they are because the writers find it hot as well in the same way vampires are hot - some kind of surrender to a raw bestial nature (often extremely masculine.. u can't tell me there's no reason ppl keep making lumberjack werewolves). it's part of a power fantasy when approached from that angle, the fantasy of being dominated/being dominating

So those are the metaphorical seeds inside most werewolf portrayals in media. To me, I was interested more in the former stuff than the latter, but the latter interests me too. 'Man vs evil wild nature' is a common theme in fairy stories as well, with wild spaces representing a threat. On the one hand I did want to subvert an expectation, but it's also part of a long-running main plot point in the series which will become obvious soon (sorry). For the werewolves, what they represent isn't the fear of the animal inside (a human is already an animal) but just the space to be the animal that you already are. I also want to refute the evil wild nature thing too - animals don't rampage about for no reason, there's no evil inherent inside a wolf. There's no mindless violence or attacking - the werewolf rampaging on the first full moon in Inver is doing it because they are frightened. It's not a harmless animal by any means and you still need to avoid provoking it, but it has no malicious intent.

The playing scene was really important to me also as a pivotal point in Bowman's arc but also Jean's and the book in general. If we're going to look at a werewolf as an externalisation of baser nature or a glimpse into what might go on inside the soul of a person (such as any exists), why is it necessarily violent... in Jean's own words, he often wanted to play with Bowman when he was younger, but could never bring himself to approach due to the constraints of society around him. playing is more fundamental to animals (both canine and human) than being a scary monster. so in this version of monstrosity, the monster is unbound from societal convention, finally free to play

Also wanted it to be quite clear that the avatars do not rampage without reason, either; they're scared, too.

[e-vay]

Evay QA Bulk Post 6

Here's another batch of questions.

Again, these do not include Domino or Phlox questions as I plan on addressing those in a separate post. Sorry for the delay on Phloxino questions, I just need to finish the final chapter of their story first.

Thank you all for reaching out ☺️

PERSONAL/MISC ASKS

toonfan91 asked: What is your favorite retro video game system, what would you say is your favorite retro game to play?

A: My favorite consoles would be the Super Nintendo, Gamecube, and the Gameboy Advance SP. Those are all so nostalgic for me and were integral to my childhood. I had the Sega Genesis as well but I didn't end up playing it nearly as much as the other 3. Top three of my favorite retro games would be Sonic 3 & Knuckles, Ms Pacman and Super Mario World.

Anon asked: omg! i wondered if cheese was just something you were super about in your teen years im so glad that cheese is still the #1 fave 🧀

A: Hahaha! Aww, you remembered that about me! Yes, I'm still a cheese fiend, forever and always!!!

Anon asked: Any writing tips and/or subversions on common tropes? - ✍🏻

A: I've said this before but I recommend really focusing on your character building. I personally believe if you can get the audience to care about your characters, the rest will work out. As far as subverting tropes, I'd just say don't default to what's easy. I remember writing a script in high school and it involved a "it was all a dream" ending and my teacher actually rolled his eyes at me and said "Don't do this to your audience. It's an easy out for you and a disservice to them" and that moment has stuck with me forever. So though I don't have exact advice for you, I'd just say keep your audience in mind. You want them to be happy that they read your story, not rolling their eyes. (You're a member of your audience too, so make sure you're happy with your story as well!)

Anon asked: Will your kid be named aroura?

A: Ever since I was a little girl, I always wanted to name my future daughter Aurora. Who knows if I'll ever have a kid and even if I do, I am not sure what their name will be. Aurora is definitely still one of my favorite names and I'd love to name my child that, but it will depend on what best fits that human :)

Anon asked: have you seen the until dawn remaster?? i know you did a drawing of that long ago!! have you ever drawn the actual characters? and also, how would you match the sonic characters to the until dawn characters? 😳?

A: I have seen the remaster but I haven't played it! It looks like such an improvement from what I've seen, and I honestly loved the original. I drew Ashley and Chris once, but for the life of me I can't find that file! It was so long ago, it probably wouldn't look any good now anyway haha. Hmm, it's a little hard matching Sonic characters to the Until Dawn characters without making them OOC. I guess if I had to pick, and with the caveat that this is a weird AU and characters are not 100% canon-accurate, I'd cast Amy as Sam (kind, gets along with everyone, doesn't like violence but can absolutely kick ass), Tails as Chris (because of his intelligence, his love for tech and his overall positive, good-natured spirit), Rouge as a mix of Jessica and Emily (covers the bases of intelligent, seductive, resourceful). I'm torn about casting Sonic as either Josh or Mike. Josh would of course be an unhinged version of Sonic which could be fun to explore but if you ignore the unhinged part, he still really suits Sonic as he is the core of the friend group and he is torn between fun-loving and masking his real emotions. Mike I feel like is a little more of the 'lead character' role that Sonic tends to fall into and his fear of commitment is pretty spot-on to our blue boy hahaha. Knuckles would be Matt because they're athletic and loyal. I'd probably choose Blaze for Ashley because of how polite and serious she can be, but I acknowledge it's not the best fit.

@bigklingy asked: Does your Lego Amy have a Sonic, like Duck Amy does? 

A: I don't own an official Sonic minifig yet. All I have is this cursed knockoff hahaha. One day she'll have a real Sonic for her to love.

-

MISC SONIC ASKS

Anon asked: What elements could the Sonic cast bend based on their unique traits?

A: Sonic would be air because he is the wind. Tails would be lightning due to his affiliation with technology. Knuckles would be earth, obvious reasons (though fire works too, especially if you take into consideration the flames of disaster haha). Amy would be fire, due to her passion and also if you read her fortune cards guide, she says her favorite of the elements in her deck is 'fire.'

Anon asked: Quick question, have you ever read the Archie comics? If so, what’s your opinion on scrouge?

A: I'm not a fan of either.

chrismantike asked: I’ve been seeing this debate a lot everywhere and I want your expert opinion on it. Since you do know about DBZ I was wondering if you think Sonic can actually beat Goku?

A: I'm always going to go with Sonic on this debate. He's defeated monsters, deities, A KILLER MOON?! He can defeat most enemies in his normal state but when he goes super, enemies don't stand a chance. Meanwhile how many times does Goku need to 'level up' his Super Saiyan form just to fight an enemy? (this is all in jest of course) Hedgehog wins.

Anon asked: do you like team chaotix? If so, who’s your favorite character??

A: Team Chaotix is not my favorite group haha. If I had to choose a favorite amongst them, it'd be Espio. I think he's funny even when he's not trying to be.

whiteghos asked: Can you summarize (if you can) what happened in TEIU by Kbspeeding? I wanted to know what happened before lil’ rory and Shadow got all dirty and beat up and what happened during that chapter. I really wanted to read it so if you can that’ll be great!?

A: I sincerely wish I could, but "The Evil In Us" was so long ago that I don't remember the details well, and KB deleted her account and all of the pages of her fic with it, so I haven't been able to reference it in ages. I'm sorry I couldn't be of more help.

Anon asked: How would you imagine Amy in her teen years? -✍🏻

A: I already picture Amy as we know her as a teenage Amy. Especially her in Sonic Boom, I think that's a teenage/young adult Amy.

-

MY OCs/AU ASKS

Anon asked: I have this question on my mind for awhile now, how did you make or come up with and Amy’s and Aurora’s clothes designs? They are amazing ☺️☺️

A: Well that's an incredibly kind thing for you to say! I honestly don't feel like I did that great of a job with Amy, I just put her in clothes I'd like to see her in haha. I wish I had put more thought into her outfit but I can always redesign in the future. With Aurora (and any of my OCs, really) I just experiment with things until I figure out what works. I try to first get into the mindset of the character and determine what fashion trend best suits their personality, and then I'll do research on that style and then try to come up with something based on that. Aurora's style is on the spectrum of "Eclectic" and "Fun" and "Funky" fashion trends, so her outfits are based on that. If you're curious, I have a whole Pinterest board dedicated to my AU and there are sections for the different characters' fashion!

Anon asked: Are you going to make more ship/fan children one day, or will you just stick with Tumble, Ruff, & Aurora??

A: Methinks you've forgotten the other 8 fankids I've made! But that's okay 😜 I love creating characters and I have no plans on stopping that any time soon. That could be OCs that aren't related to anyone, OCs that are the parents of characters we know, or fan children. I don't know what I'll be doing next, but there will definitely be more new characters in the future.

charlieangel345 asked: Hey, evay, What do you think Amy and Aurora’s favorite anime? I think Amy’s favorite anime is fruit basket and Aurora favorite anime is sailor moon.

A: I think you're absolutely right! :) I think Amy might also be a fan of Ranma 1/2 as well. I'm not all that current with anime so I can't make many more recommendations that suit them.

supersaiyaman85 asked: How do you think it would go down if CC ever met Cream or Zooey(Tail's crush from Sonic Boom)?

A: I have a script for a comic that involves CC and Cream interacting, I just have to get around to drawing it. As far as Tails' past crushes like Zooey, CC is very jealous so ... she wouldn't handle it well lol

twistedchaos101 asked: Does Aurora know her grandparents? How is the relationship with them?

A: At this time, Sonic does not know Phlox is his dad and Domino is deceased, so to their knowledge Aurora does not have grandparents on her dad's side. Aurora would know her Grandma Lulu and Grandpa Clay, but Amy is sort of estranged from them so they aren't a major part of her life. They're the kind of grandparents that send a ton of gifts on holidays and birthdays but only visit maybe once ever few years. She loves getting to see them though and they absolutely adore her!

abbysulf asked: Has there ever been a moment where Sonic went dark to save Aurora? Like, was she in so much danger that he would risk his mind and body to save her? And not from Shadow lol

A: In my AU's canon, there hasn't been any moments like that. I like to joke about Sonic turning dark any time he's even mildly upset, but I don't mean it seriously. And as Aurora was growing up, he kept Aurora so safe to the point it was almost smothering, so she wouldn't have ever been in any real danger. But if she were to ever have her life threatened, yes he would lose himself in order to protect her, without hesitation.

Anon asked: We all know Sonic and the gang for saving the world in their world and they have alot of fans but what about in your story? Are they famous and their fans are surprised when they heard that Sonic and Amy got together and had a child same with Rouge and Knuckles but they adopted instead?

A: Even in my AU, Team Sonic is famous. Not to the point where they're like celebrities and have paparazzi following them everywhere, but the average citizen knows who the members of Team Sonic are and some people do get kind of starstruck around them. As they all reach older adulthood, Sonic and Amy's lives get a little more calm and domestic so they are less in the spotlight compared to Tails who is the CEO of his own company and Knuckles who is running the Young Heroes program. Maybe the average person might be surprised that some of their heroes ended up getting married and having their own families, but again I don't picture Team Sonic's personal lives in tabloids regularly.

Anon asked: I actually wanna know how well Aurora takes shots (At the doctors)from a baby all the way up to a young adult

A: Aurora sure wouldn't like shots, but she's never necessarily been scared of getting them. If anything, I could see the DOCTOR being more afraid of giving her a shot. Imagine both Sonic and Amy giving the doctor the death glare with the unspoken threat of "You better get this done quick and if you cause any extra unnecessary pain, we will both end you." They've got a good routine down where Sonic distracts baby/toddler Aurora until the shot happens and then both he and Amy quickly smother her in hugs and kisses and praises so she is only upset for a brief moment.

*The next question is a Shadora Ask. Skip if you don’t like Shadora

Anon asked: Why does Sonic spy on Shadow and Aurora when they go on a date or when Aurora visits Shadow's house?

A: Sonic is an overprotective dad and he doesn't like the idea of Aurora dating anybody (even though she's a grownup). It doesn't matter who she was dating, he doesn't think anybody is good enough for his baby girl. He spies to make sure they're not getting into trouble (it's just for the sake of comedy, don't take it too seriously).

*The next question is a Shadora Ask. Skip if you don’t like Shadora

djanims asked: maybe weird question but has aurora ever seen shadow in his super form and if not what was her reaction?

A: She has! I've drawn them together in their super forms before :) She thinks he's an angel

*The next question is a Shadora Ask. Skip if you don’t like Shadora

Anon asked: Has Shadow told Aurora about who Maria was in your continuity?

A: Absolutely. Maria played a very important role in his life, so of course he'd talk about her. The grief will always be there but with time and by becoming more comfortable opening up to Aurora, he finds it easier to reminisce on the good times he had with his sister.

*The next question is a Shadora Ask. Skip if you don’t like Shadora

Anon asked: How did Sonic and Amy react to Aurora and Shadow having 8 children like I just imagine *first born* "Oh my goodness congratulations!" second born still happy. At the 8th their like "Wow... Rory that's um great... Lots of grandkids.." So yes that's how I imagine it going but how about you, this question has really taken over my mind. ���❤️❤️

A: Hehehe, 8 grandchildren is definitely a lot. BUT! I headcanon that Mobians are a bit more like animals than humans are, so the idea of 'litters' isn't totally foreign (though maybe not as common in modern day Mobius). In my AU, Shadow and Aurora have three litters (so far, hehehe) so it went 3 kids, 2 kids, 3 kids, so they weren't exactly expecting to end up with 8 children, but they're happy all the same. I think Amy would be over the moon no matter what. Sonic would love all his grandkids and be excited about all of them, but also I'm sure he'd be secretly laughing it up at how chaotic the Shadora Home must be at all times and he's just glad that he and Amy had it super easy raising their only child. Plus I could see among friends and family there's an ongoing joke of "So... Aurora, Shadow.... How many next time?"

-

SHIPPING ASKS

kkrucy asked: What your opinion on other ships then sonamy?

A: There are plenty of ships that I like and there are plenty that are not for me. I don't like to announce the ships I don't like, there's no good in doing that. Some that I like include (but are not limited to) KnucklesXRouge, Shadamy, Sonadow, SonAmyShad, MetAmy, VectorXEspio, KnucklesXAriem, RougeXTopaz, WhisperXTangle, Dr.RobotnikXAgentStone (from the movies), SilverXBlaze, I even like BlazeXRouge if I'm being honest (You can blame TMOSTH for that!)

scaredforcewielder asked: I know it's a bit early, but would you consider doing Sonic and Amy's first Christmas as a couple?

A: I know I did it off-season, but I already made a several Sonamy comics for Christmas this year. I always want to draw more Sonamy and I would love to draw their first Christmas as a couple, but honestly I don't know that I'll have the time to do that this year. I hope those mistletoe comics helped to tide you over!

dean-alice-rose asked: What is your favorite sonmy moment? And it can be in your comics or official. Also what is your favorite comic that you made?

A: Gosh, it's really difficult to pick a single favorite Sonamy moment! If I had to narrow it down to just a few... One would definitely be episode 52 of Sonic X where Sonic returns to their planet and he and Amy have that heart to heart. I can't tell you how many times I've watched that scene, I found it to be the epitome of romance even as a kid! A small moment that actually meant a huge deal to me was in The Murder of Sonic the Hedgehog, where Sonic calls Amy "radiant." It's just one line, but wow, what a magnificent compliment! That's way more powerful than simply calling someone 'pretty' or 'great' in my opinion. I have too many favorites, I could go on forever haha! I don't really have a favorite comic that I made, they all mean a lot to me. "My Gal" is maybe what I'm most known for and that's great because it was so personal and I poured SO MUCH of my heart into it. But I have fond memories of every single comic I've made and each one has helped better my writing and drawing, so they're all special to me no matter how silly or serious they are.

Anon asked: In the future, would there be a chance to see CC and Tails again? I always adored CC and loved her design, plus her relationship with Tails. I was just curious as to if you had any future plans for them?

A: Definitely! I have plenty of ideas for them, I just need to dedicate the time to drawing it out. I'm so happy you enjoy that pair so much!

Anon asked: What are your thoughts on Metamy? (´▽`ʃ♡ƪ)

A: I ship it! It's not at the top of my list but I still think it's super cute and no matter what, I've always had the headcanon that Metal has feelings for Amy (he's meant to be like Sonic, after all, so if I believe Sonic likes Amy then surely Metal would, too!)

Anon asked: Do you ever compare video game couples to each other? - ✍🏻?

A: Of course, it'd be impossible not to. Personally I relate Sonamy to NathanDrakeXElenaFisher (Uncharted) the most out of all video game couples. Both pairs have an undying love for adventure and enjoy traveling the world. Elena/Amy are definitely more cautious and careful than Nathan/Sonic who're a little more gung-ho, but in the end they make a great team and can keep up with one another.

whiteghos asked: What is Sonamy’s love language? >v< <3

A: I always say that Amy is the physical embodiment of love, and because of that I think ALL the love languages suit her! She expresses her love in every way possible and I'm sure she'd be happy to receive it in any way Sonic is willing to give it 🥰 It makes sense to me that Sonic's would be Quality Time and Acts of Service. Sonic always loves to do his own thing, so whenever he's willing to spend his time with Amy (whether it's grabbing dinner with her or even if it's just sitting in a pile of hay with her), I think that says a LOT. I don't think Acts of Service requires explanation.

*The next question is a Shadora Ask. Skip if you don’t like Shadora

whiteghos asked: What is Shadora’s love language? >v< <3

A: This is hard to narrow down and I feel like love languages fluctuate. For now, I'd say they both share the love language of Physical Touch. Individually, Aurora leans more towards Words of Affirmation and Shadow is Acts of Service.

*The next question is a Shadora Ask. Skip if you don’t like Shadora

Anon asked: Are you gonna make a full comic on Shadow and Aurora first date like you did with Sonic and Amy?

A: I'm not 100% sure if it will become a comic. I definitely have a fic in mind, and maybe I'll do some supplemental drawings to go along with it. Sonic and Amy's first date was 'easier' because Sonic and Amy already have an established history. Shadow and Aurora have to get to know each other before they start dating, so it'd be easier to accomplish in a fic rather than a comic. If you haven't seen it already, I did write a summary of their first date.

–

Thank you all for the questions!

Evay QA Bulk Post 1

Evay QA Bulk Post 2

Evay QA Bulk Post 3

Evay QA Bulk Post 4

Evay QA Bulk Post 5

[butchjesus]

I find it fascinating that in the 2015 film instead of naming victor's brother after one of his two brothers from the novel, they call him henry. they have not one but two brother names to choose from, they could have easily called him william or ernest, but they didn't. they also could have had the character be a sister and named her elizabeth, but they didn't. however, the name they picked wasn't out of thin air, either—they named him henry, like henry clerval. I know this film was by no means faithful to its source material, nor is it required to be, but this is just such a strange point in the writing to me. this was an intentional decision. why would they do that?

the way I'm choosing to spin it is that they wanted the inciting incident, the death that haunts the narrative and drives victor's cause, to be (at least inspired by) the person who victor loved most (and of course with this particular victor that couldn't possibly be a woman), and so they chose henry, victor's very best friend and character foil, with whom many have expounded upon the queer subtext present in the novel. but why make them brothers? could be a handful of reasons, maybe what kept them from leaning into the other queer themes obvious in the film. the likely culprit (if any) by my guess is that they wanted to solidify motivation for the relationship with victor and his father as "the family disappointment," a position sharpened by the loss of his older brother for which victor takes the blame. narratively I understand this choice, it's cleaner and a recognizable trope foothold, and also it sets up the brother/other motif with the creature*, but I think they could have just as easily done the same if henry was the child of close family friends or something to that extent, closer to the setup of the novel, because then his death could tarnish the whole family's reputation and relationships in addition to the internal turmoil, etcetc, thereby underlining the themes of the main story with victor and igor.

(*though by victor's own admission, he isn't trying to replace or bring back henry, but rather even a scale of life and death, so the connection of the creature to his literal brother also seems like something that could be effectively subverted to the story's benefit)

it could also potentially be that they did pick a name at random that just happened to be another novel character's—henry is a common name for the context, after all. but what a coincidence that would be (and far less fun than the alternative).

all this to say imo they could have left the rest of the origin story the same with henry filling the clerval role as victor's childhood best friend and still had his death play out as it did, and the rest of the story would be equally supported, but with stronger queer themes and overall narrative reinforcement in terms of the character relationships.

so, here's my rework:

victor and henry are teenagers, best friends since childhood, from two close and wealthy families, the frankensteins and the clervals. victor's parents adore henry, and so does victor (the latter in ways he cannot fully process, but he loves him differently than he loves his siblings, a way he's never loved anyone before). the two of them were always finding excitement and adventure, always together, and henry inspires so much wonder and ambition in victor, always eager to combat the bouts of malaise and despair that take victor every so often. his bright side, his sunlight.

one night when henry is staying with the frankensteins (a frequent occurrence), victor convinces henry to sneak out with him to play, giddy kids of maybe fifteen always looking for adventure. henry agrees, they go out, the storm hits. they get stuck. there's nothing to do but try to stay warm. they cling together, terrified. time scrapes on at an agonising crawl. victor gives up hope, sure they are to die there, and laments it being all his fault. even then, henry wants to comfort and cheer victor up, and so he gives up a piece of his clothes, maybe a housecoat or something, and wraps himself around his friend, despite victor's concerns and protests. henry insists they keep hope that someone will find and rescue them.

finally, someone does—but it's too late. henry is already dead, his cold body stiff and frozen, still shielding victor from the wind and cold of the calming storm. victor is bad off, barely still breathing, but alive, only because of henry's sacrifice. they have to pry henry's clinging corpse off of victor to get them both home. when they're back and the families get victor to explain what happened, they are shocked to hear that it was victor's idea to go out, and both parents blame him for henry's death, the clervals in grief and the frankensteins in shame (though all are grieving the loss of such a sweet and promising lad).

victor is understandably devestated. he not only lost his truest friend in the world, his first love that never got to fully blossom, in such a traumatic way, but now his parents were disgusted and angry with him, leading his siblings to keep their distance; the clervals have shut him out; and everyone else they know has heard the news from the adults that victor frankenstein killed the clerval lad with those crazy whims of his. victor lost everything in that storm, and now he is alone and disgraced.

the film is a love story already. what better way to drive home the turmoil of victor and igor's relationship and victor's character arc in general than having the big reveal be that victor feels responsible for killing his best friend and first love, and having the physical manifestation of his guilt and unresolved feelings and relentless obsession with overcoming death (the creature) drive him away from and literally try to kill his new love?

anyway, the sketches at the top are reworks of my novel clerval design to have him be about fifteen or sixteen when he died. if you read all this I'm giving you a very smooth river rock or a piece of seaglass

[imbecominggayer]

How To Write A Deconstruction!

And a subversion. And aversions as well since I am here to get clicks baby!

Hi, Small-Time Tumblr User™ here to tell you how to write different types of twists and turns in your tropes. Remember, just because it's new doesn't mean it's interesting or compelling. Tropes are exceedingly important so don't get all arrogant and pretentious here

Formatting wise, i'm going to go from aversion to subversion and then to deconstruction!

Aversion

Aversions are exceedingly simple so that's what we are starting with first!

The definition of aversion is when a writer makes the conscious decision to not include an expectation of the genre within a story.

A subversion is where the writer literally "subverts our expectations," while an aversion is where the writer completely avoids them from the get-go .

Aversions are rarely ever mentioned because there are thousands of tropes within a genre that just avoiding one is rarely unique. For example, romance without enemies to lovers is an aversion but not a notable one.

It also doesn't count when the expectation for a trope isn't there. A sci-fi story lacking in magic isn't an aversion because magic isn't expected in a sci-fi story!

Aversions tends to be only mentioned when the trope is so ubiquitous in a genre that's lack is a huge surprise. For example, a sci-fi work in space where there is genuinely no noise in space.

This section, as you can guess, was less about writing advice and more about dismissing buzzwords you hear

Subversion

A subversion is where the expectation for a trope is set up within the actual story but is avoided.

Subversions are a common tool in comedic scenarios since comedy is all about the playing with expectations! You can't have a joke if everything that happens was expected to happen.

For example, a "violent" horror movie where nobody dies is a subversion because all the attacking sets up the belief that one of these characters are gonna die BUT they don't!

Deconstruction

Deconstruction is the entire foundation of a story involving a close analysis of a concept to reveal the inherent instability and contradictorary subjectivity of itself.

A common and "easy" way to deconstruction is to ask how the trope would fare in the real world and the consequences associated with the trope. Think about the politics of weird fantasy cultures! Actually try to understand how being the depressed girl hiding her despression with pluckiness isn't just an interesting reveal but an actually serious thing

Despite the belief that deconstructions are inherently cynical, darker, edgier, and sadder overall, there is no reason they have to be. Stories can also be explored with an idealistic worldview with neither the cynical or the idealistic perspective being incorrect or worse than the other.

The most important part of a deconstruction is the reconstruction. The ability to take apart a story is meaningless if you are unable to offer realistic advice for improvement. This improvement could be applying more nuance to character development, diversifying in terms of perspective and who gets to tell their story, or by giving more gravity to a character's traits.

[harringrove-flip-reverse-it]

Welcome to Harringrove Flip Reverse It 2024!

Are you the sort of person who likes to be nifty with your fan creations? Do you enjoy subverting prompts? Does the thought of a challenge fill you with glee?

This is the event for you!

Harringrove Flip Reverse It is an event taking place the first week of July (Monday 1st - Sunday 7th). It’s very easy (and fun) to play!

Every day during that week, you’ll be given five prompts: fluff, angst, nsfw, sfw and trope subversion. Sounds simple? Well, it is… but there’s a catch!

For each prompt you decide to fill, you’ll be expected to Flip Reverse It! In other words, you must make your fluff prompts angsty, and your angst prompts fluffy. Your nsfw prompts should be safe for work, and as for your sfw prompts… enough said ;)

The trope subversion prompts will give you a very common, possibly even overused prompt… and it’s your job to subvert it, in any way you want. Interpret the prompt any way you like, except the traditional one.

You can do as many or as few prompts as you like, no sign-up required! Make sure you tag @harringrove-flip-reverse-it in your prompt fill so we can reblog it here too.

Want to find some cool people to talk about your ideas? Come and join us in the Heebie Jeebies discord server to find a ready-made community of likeminded lovely people, now featuring a dedicated channel just for discussion of Harringrove Flip Reverse It!

For more details on the prompt categories, read on…

Fluff:  Take the traditional tooth-rotting fluff… and make it angsty! We’re talking days at the beach that end in disaster, hot chocolate with marshmallows that turn out to be poisoned, sweet little moments that break our goddamn hearts.

Angst:  It looks like it should hurt, but it doesn’t! These prompts may seem dark and whumpy, but they should fill the heart with joy and delight, no angst allowed!

NSFW: These prompts may look filthy, but in fact they could be read by the most innocent of angels with nary a blush!

SFW:  By contrast… somehow these gentle ideas have become sullied by porn, and there’s no turning back!

Trope Subversion:  These tropes may be overused, but it’s your job to interpret them in a non-traditional way. Maybe they share a bed, but not with each other! Maybe their first kiss was with someone else! It can be anything EXCEPT the usual way of interpreting the prompt.

Interested in taking part? Reblog this post, check out all the nitty gritty details and then get working on some prompts!

[queenvhagar]

The whole point of Fire and Blood is white supremacy. Viserys didn’t want Argon as king because his blood was not pure enough, he was of “Alicent blood”. So why, if they wanted a black and white moralistic show, they are on the side of white supremacy.

An important thing to recognize, that the writers and fans fail to see, is the fact that GRRM wrote the ASOIAF series as a subversion of common fantasy tropes. Good and just royals, chivalrous and honorable knights who protect the innocent, prophecies as a force for good, enlightened and benevolent magic race of beings, fairytale love stories and happily ever agrees, clear black and white stories of good vs evil... all of these things GRRM wrote to subvert in his books. Royals play their game of thrones and are concerned with their own power most of all, knights are not always good people or honorable and in fact are tools of an oppressive system, no race is inherently superior and believing this drives violence and destruction of those very people, people marry for duty and duty is the death of love, and there are no clear cut black and white conflicts in the real world, just complex and nuanced situations where both sides think they're right and do what it takes to reach their goals for their own reasons. This subversion of fantasy tropes and elements in favor of a realistic exploration of what the sociopolitics of those worlds would be is something that defines the ASOIAF series and sets it apart from the rest. The faithful adaptation of these books and maintenance of those subversions and the integrity of the underlying themes of the works is what made the early seasons of Game of Thrones such outstanding and praiseworthy television.

The writers of House of the Dragon do not see the truth of this. Instead, they have co-opted symbols of fantasy and other surface level elements present in the ASOIAF series and used them to construct a story more in-line with traditional fantasy stories. In their hands, the conflict is a black and white morality tale of good vs evil that presents a magical race of people as superior to others and presents prophecy as an uncritical force for good and justification for a devastating war. Sprinkled in are characteristic yet surface level shock value factors - like incest and extreme violence - that were present in Game of Thrones. Ironically, their writing is antithetical to the ASOIAF series and what GRRM set out to write with his stories. This is the fundamental issue with House of the Dragon and the ultimate failure of its adaptation.

Because the writers and fans have bought into an unsubverted fantasy story, they choose to support a race of people who believe themselves superior to all others and the violence they use to keep control of their subjects. The critical view of fantasy as a genre and stories set in medieval feudalism are entirely lost on them, beyond a surface level, modern viewpoint focusing on one isolated element of oppression that existed in those times. Because the story only focuses solely on the dimension of misogyny as a system of oppression and fails to acknowledge its intersection with other systems of oppression present - racism, classism, and ableism, namely, among others - it fails to fully explore the dimensions of power present in this society and therefore its politics feel limited and messages feel shallow. It's the focus on misogyny and setting aside of all other dimensions of oppression that firmly centers this show on a white feminist perspective, to its detriment.

All of this said, to the first part of your ask: I don't think that was really a reason for Viserys' decision to not make Aegon is heir. Even though it certainly is an instance of him othering his children by Alicent and viewing them as separate from Rhaenyra, he supports Rhaenyra as heir because she is his favorite child and the child of his first wife. The context of the line concerns when Alicent proposes a union between Aegon and Rhaenyra and Viserys dismisses the idea because he thinks her sole motivation is that she wants her own bloodline on the throne, which to be fair to Alicent is what anyone would want in her situation. It's not necessarily of him not having "pure" blood per se. If something like that was really an issue to him, he would have wed a Valyrian, and he did have the option to do just that; instead he married Alicent and has multiple children with her.

Aside from Viserys' wishes, Targaryen supremacy is absolutely linked to white supremacy. And so many choose not to see it in lieu of uncritically seeing Targaryens as actually belonging to a magical, exceptional, and superior race of humans. Their buy-in to this fantasy trope is in opposite to the actual intentions and goals of the original author.

[hephaestiions]

Inspired by your Drarry fic recs and your amazing Flintwood fic, do you have any Flintwood recs or personal favorites?

ah! fantastic ask, anon! flintwood was, incidentally, my earliest hp ship & maintains a soft spot after all these years. their functions in canon (quidditch captains of rival houses, pinnacles of a certain kind of obsessive, single-minded, aggressive athletic masculinity) conduce some of the most raw and gritty characterisations— kind of like if tracing your tongue along the jagged, broken end of a tooth was a ship. flintwood encapsulates a very specific kind of mood— a foregrounded physicality, a delicious emotional dimension balancing both subtlety and brashness. this ship is especially delightful when you're in the mood for some deferred emotional payoff, a little out of reach and more satisfying for it.

(tw for some discussions of queerphobia & masculinity!)

flintwood also works with and subverts some common stereotypes & tropes associated with sports as a site of exalted & amplified masculinity. oliver and marcus are both, in fic, often representations of what a popular (largely homophobic & patriarchal) culture understands as 'masculine ideal stereotypes'— physically hulking, emotionally repressed, narrow-focused, a little dangerous. and flintwood, as a ship, is crucially also about these 'ideal men' making the choice to step away from the hallowed halls of homosociality towards explicit queer desire, dynamics and love.

i'm getting into this because a large selection of flintwood fics i've loved deal (overtly or covertly) with coming to terms with queer awakenings, reckoning with being queer men in sports and similar explorations. my flintwood fic (thank you for reading it, anon!), addictive tendencies (~4k, T, tw for internalised homophobia) also grapples with this fairly significantly. in fact, even when the central tension isn’t explicitly about a queer reckoning, and the worldbuilding has little/no queerphobia, many excellent flintwood fics have some of the themes, ideas and tropes you find in literature accounting for our society’s (often disparaging) attitude towards queerness: a desire both intense and grudging, a sense of “i can’t have this person” justified through rivalry and/or jealousy, poignant internal conflicts, etc.

anyway, enough talk, here's a selection of flintwood fics i've dearly enjoyed, hope you do too! mind the tags & notes & remember to send some love the authors' way :)

best kept secrets by slyther_ing (M, 1.8k)

Marcus Flint is leaning up by the metal chainlink fence - gum popping, grin flashing white, and Oliver has the urge to run away because everything in the taller boy’s stature screams trouble, trouble, trouble.

twenty gauge by provocative_envy (T, 3k)

It takes Marcus less than ninety seconds to determine that his four o'clock is an aggressively annoying piece of shit.

wake up, get up, shut up by provocative_envy (E, 4.2k)

Marcus is twenty-three and half-concussed when it finally occurs to him that he might actually kind of sort of be really into dudes.

rugby boys, they play 15s by thistlecat (M, 4.5k)

Fifteen significant moments in Oliver Wood’s collegiate rugby career that did not make his highlight tape.

no vacancy by provocative_envy (M, 10.1k)

The dreams are frightening, at first.

true but not nice by v (E, 10.2k)

Marcus found out about it from Warrington, who heard it from Montague, who heard it from Derrick, who heard it from Nott, who heard it from Zabini, who heard it from Malfoy, who they said heard from the Quidditch dressing room, which really just meant that Marcus was going to fucking kill him.

self preservation by al-the-remix (E, 17.8k)

Outside the night had grown dark, and at some point Oliver had moved to perch on the edge of Marcus' bed, thigh pressed against his and tray settled between them. As if they had some sort of understanding. As if they were friends.

[doonalli]

hi !!! i lauv ur analysis’ of yttd !!! would you consider doing one for maple :)?

Woah my first ask!!! Thank you!!!!! Maple is such an awesome character there is so much that I could say about her, I even went a bit into it with Mai's analysis Maple's character is such a tragic one honestly, and there is a lot I could talk about, but writing this on the spot I obviously won't be going as in depth as usual, although I really do want to write a full analysis on Maple sometime, but 3-2 seems just around the corner so idk if I'll get the time....

Regardless, for right now, I'll talk a bit about the way Maple is presented, how that plays into stereotypes, and most importantly how she subverts them too

Maple is immediately presented as a very girly girl, right as we enter her room we are hit with loads of pink fluffy furniture, and she particularly has a keen interest in tea, all things that are traditionally feminine

Even her fight follows this with its emotions gimmick, playing into how women are seen as hysteric by the people who don't respect them

and further playing into that girly stereotype Maple has a deep love for Midori. It's a common trope for women in media to be nothing more than the love interest for the men around them, or for them to fall head over heels for the men they love.

But for Maple this is revealed to be much more sinister, with it actually being something programmed into her, rather than her own true feelings

let's not beat around the bush here, Midori is by no means a good person, AT ALL, but compared to Maple's love, Midori's affection is incredibly twisted, with the prime example being how he talks about Shin

In Kanna's route Midori talks about how unfortunate it is that Sou had to die, as he wanted to kill him himself.

And with that context I find it interesting how when Maple ends up powering down and "dying" Midori takes her and goes to "revive" he with "the power of his love"

It's just peculiar to me the difference between them and how Midori treats them. On that point though, another thing to note with Maple is hands.

To even enter the discussion room a pair needs to hold hands. People holding hands can often be used as a sign of affection, or intimacy, even Ranmaru himself falling into this.

But when Midori decides takes her to get "upgraded" he notably grabs ahold of her wrists, rather than her hands.

Grabbing someone's wrists is usually done because it exerts more power over them, compared to holding hands where it's a mutual act from both parties, and can be let go when either party desires it.

He could have grabbed her by the hand, or any other place honestly, or nankidai could have simply chosen not to show it at all, yet a specific focus was put on Midori grabbing Maple's wrists.

It's clear Midori doesn't treat Maple with care like the green books suggest

Nor does he make any attempt to understand her emotions or sympathise with her like the manual says

I mean he literally gave her the manual in place of a love letter to her, clearly not caring enough to actually write something for her. It doesn't get more ironic than that.

And it doesn't stop there for Maple, as when she is upgraded into Maple 2.0 she is forced into fighting her friends, in particular Mai

And this leads to partway through the fight where she fully cuts off her last remaining hand, which with the context of everything I've said also cuts off her chance of simply holding someone's hand...

But its not all bad for Maple, after all if Anzu survived the way she'll reconcile with Maple is by holding and shaking hands

(fun fact: Nankidai showed an old version of the sprite where Sara reconciles with Maple on stream once and in that sprite she also held Maple's hand, but that was changed before release)

And by the end of her story, Maple is able to fight back against Midori and put the first crack in his facade, even pushing through his "I love you"s and outright stating that she won't believe him. She pushes back on this idea of being defined by her love and is able to truly show herself as a strong person able to stand up the abuser in her life.

And Q-taro will even call Midori out on his mistake here, on how he underestimated Maple, because of his prior expectations,

And coinciding with that, this happens after Maple's monitors all break, monitors that were all linked to emotions, and put them neatly into boxes. It's not like Maple suddenly becomes emotionless either, she still hesitates when Midori says he loves her after all, but it isn't as easy as just reading it on her face, because she isn't defined by her emotions either.

Maple is more than the stereotypes that can be pushed onto her by the people in charge, (or the people who program her,) and the way she is able to fight for her own power says a lot, and proves that she is so much more than what it may seem on the surface, after all, she is human too.

================================================

Thank you again anon for the question, this IS shorter than the others i've written due to me writing it on the spot but i really hope i was able to fufill ur expectations even just a bit I'd love to revisit Maple someday, hopefully we'll be able to see more of her in 3-2 too (or YTTS or a minisode or a page in the updated artbook or SOMETHING) but for now I really enjoy her place in the story and her portrayal and maybe i've been to do her some justice and was able to show some others that too!!!

[hawkinsschoolcounselor]

melvins are still out there saying the s5 bts drop video means nothing for byler, and i was reading your post about duffs subverting tropes. im so interested in which tropes they choose to subvert or use or extend or morph. the famous we're friends! one re: byler is a classic, and is the subversion perhaps the fact that yes they are best friends and will remain so, as well as being two guys in love?

honestly if i had to quantify my main reason for thinking byler is endgame its not even anything quantifiable: it's just the chemistry between mike and will and the way they are directed, even more so than the way they are written. but you can't explain that to people who don't feel the chemistry or understand directorial choices. im sure there will be plenty of mileven fans who totally deny s5 and reject byler endgame, choosing to stop at s4 or rewrite the show, or even petition for it to be remade, sort of like a stranger things referendum lmao.

In fairness, they have a point as to how that teaser didn't have anything solid regarding Byler. However, if that is significant, then what does it mean for their own pairing?

The Duffers subvert tropes when it aids in storytelling, and it's largely dependent on how much the audience expects the trope in question. Subversion is meaningless if it can be predicted, after all. Steve ending up being a heroic, but flawed, character in season 1 is a good example because it subverts the Jerk Jock trope that was heavily common in the 80s, and I imagine remains to some extent today. Nobody would have expected Steve to return to help Nancy and Jonathan, but, if you look back, the seeds were there. He was already depicted as being less of a jerk than his friends, so it is more believable when he ends up telling them to fuck off because he realizes what bad influences they are.

Mike's "We're friends!" moment was very conspicuous because Will didn't really question it otherwise. Will's whole point was that they were friends, and it made no sense for Mike to not give a damn (from Will's perspective) anymore. For Mike to get so defensive about it suggests that it struck a nerve that Will didn't intend. However, due to the general audience seeing it as a "Will is a third wheel" situation, the Duffers are able to use that trope to misdirect the audience. It's another situation where the real meaning isn't a forced twist since there is plenty of evidence there to show the real meaning, but most people just wouldn't notice at first because the Duffers played into their expectations. Yes, Will is upset that his friend is ignoring him, but, plot twist, Mike is overreacting because there's more going on there than meets the eye.

There's bound to be more tropes next season, and I fully expect the Duffers to work those audience expectations into the story.

[mymanyfandomramblings]

I was just thinking about Steven Universe, and I was joking about how in Beach City the dads are all mostly used for comedy (except for Greg bc he's a major character, but even he's occasionally used for jokes), meanwhile the mothers could kill a man, when I realised about how well Steven Universe, even with the background characters, deconstruct the 'bumbling dad/hypercompetent mother' tropes.

It's pretty common in TV shows to have absolutely terrible dad characters, who can range from mildly incompetent to straight-up abusive, and it's extremely unusual to see a show where the father is the more competent parent than the mother. Steven Universe, however, shakes up the normal dynamic. At first Greg is everything you'd expect from your bumbling sitcom dad: he looks like a bit of a slob, he's a hoarder, he's far less attractive than Rose, the Gems don't think very highly of him, and he works a rather unimpressive career, having failed to achieve his dreams. But Greg goes on to prove himself not only as a competent parent to Steven, but probably the most competent of any of Steven's parental figures (and we all know if Rose had been able to live, she would hardly have been a wonderful parent either). This is not, however, to say that Greg is perfect--far from it, he has plenty of faults, but no more so than any other character. The point is: Greg may have the outward trappings of a bumbling dad, but subverts the trope instead, by being a responsible, caring and genuinely good parent.

The show also deconstructs the 'bumbling dad's' sister trope--the badass mama bear who is incredibly competent at running their family, and is involved with their children's lives. The mothers we see around Beach City--Barb Miller, Priyanka Maheswaran and Vidalia (as well as the Crystal Gems, who are Steven's maternal figures) all pretty much fit this trope, although certain of them fulfil certain parts of the description better than others. However, the show does display that none of them are perfect parents. Barb would clearly die and/or kill for Sadie and would love to be a part of her daughter's life, but there's multiple episodes dedicated to showing how stifled Sadie feels by her mother's enthusiasm and desire to be involved in her life. Dr. Maheswaran is incredibly competent but is also hyper-controlling of Connie, leading to a breakdown in their relationship. Vidalia is clearly a cool mum who supports all her children's ambitions--which would be great, if one of her children wasn't Onion, who would probably benefit more from discipline, rather than just affirmation of his behaviour--which ranges from minor crime to full-scale mayhem. And this isn't even starting on discussing the Gems and their failures when it comes to their parenting.

I just think it's really intriguing how Steven Universe plays with and subverts the classic tropes when it comes to parents and the roles and expectations of each parent. It's another example of why the show is so good at deconstructing classic character archetypes and tropes.

[rphunter]

hey everyone! I'm back again with another request, I fear... I'm 23, looking for 18+ partners! irl gender doesn't matter to me. I'm looking for a MxF plot right now, with myself playing the M!

more specifically, I have a M character that I was hoping to use. he's a sweet and patient guy, definitely DILF-coded, and I want a chance to write him in his medieval verse! he's a traveler, someone who doesn't stay in one place for long, but is constantly out hunting monsters and carving his own path. would love to pair him with a F character who can join him on these trips!

I also have another character in a somewhat similar vein: a commander for the royal army who uses magic! he's quiet, tends to keep to himself, but has a bit of snark to him at times. generally speaking, he's a nice guy, just not the best when it comes to showing his feelings. looking for a more fiery F character to balance out his cool charm! this could lead to more of a multi muse plot, too, building out those around them.

I'm looking for a slow burn, so there may be eventual smut, but don't expect it straight away. I also don't use real FCs, but I can work off of animated ones or descriptions. I write only on discord, advanced literate to novella. please don't waste my time if you're only semi-lit or aren't willing to plot with me! I love subverting common tropes, so don't come to me expecting me to write a hard dom age gap plot for you. I want depth and intrigue! if this interests you, drop a like 🖤

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[emblemxeno]

I think the cause for 3H's popularity is a lot simpler than a lot of people think

There's a preconceived stereotype of what Fire Emblem is. Good royal fights super evil dragon. Anime dating sim. Usually full of one-dimensional stereotypes. (I don't agree with this perspective. Just saying that's the common belief.)

3H is more overt about how it subverts some of the franchise's usual tropes, so people latch onto it under the idea that it has more effort and depth than the usual standard

The same thing happened with Frozen and My Hero Academia. People praised them as having "strong female leads" and "more dimensional character growth" compared to other Disney films and shonen media, respectively

The problem is that these assumptions are wrong

3H is not the only game to have 3-dimensional characters and doesn't even have comparatively more of them. I'd say all FE games have a roughly 50/50 character ratio. It fits the standard rather than raise the standard

This is also why 3H (and the other examples mentioned) spawned a pretty large hatedom. The continuous praise it got for something people felt other games did as well caused a lot of resentment

That's a good assessment and one I agree with! It just makes me sad that such, IMO, surface level, shallow frontloading of lore, character backstory, and "serious storytelling" is all it takes to ignore the flaws of a product so heavily.

Quite literally, it's my brain not vibing with the concept of stories just... putting it out there and expecting the audience to take it as grand or well put together. Ironically, desperately trying to appeal to the crowd who desires a "Serious Dark War Story" ends with the product prone to being full of holes, inconsistencies, loose ends, y'know.... objectively bad things that weaken the foundation of a narrative. But since it's painted with a serious and melancholy brush, it's acclaimed, while stories that are, from a baseline sense, actually well put together are ignored or ridiculed because the audience doesn't like the tone.

Or to put it simply: the writers of 3H said that at some point, the product had a life of its own and no one person on the team knew everything there is to know about its story, characters, lore, etc. That's not something to brag about as a writer, it signals unprofessional work space that didn't bother with edits or people to keep tabs on all the info. Yet it's what people want for some reason, and to each their own, but I'd rather a game story be easily digestible and not fall apart after even just 20 minutes of hard scrutiny or analysis. And also be fun to play lmaooo.