#it saves people to see themselves on page in stories

[princessofmerchants]

How I get to see the darkest parts of me on page in Chapter 50 of A Court of Silver Flames, and then see on page those same parts start to notice, finally, the light...it will never not take my breath away.

[literaryvein-reblogs]

Writing Notes: Plot Method

The Save the Cat! Beat Sheet was originally developed by Blake Snyder to help screenwriters plot movies, but it works just as well with novels.

It breaks down the 3-act structure into small, specific sections (sometimes just one scene long).

Each section pushes your story forward in its own way.

The exact word count/page count of each section depends on how long your novel is and what type of story you’re telling, but you can use the colored chart below and the percentages in the instructions as a guide. 

Context Note: This method is based on the concept of the Three Act Structure, which is an inherently Western approach to plot. It can be a useful way to tell a story, but it is by no means the only one.

ACT 1

Opening Image (0-1%)

Show a “before” snapshot of your protagonist and their world.

What is life like before the adventure begins?

It represents the struggle & tone of the story.

Set-up (1-10%)

Expand on the “before” snapshot.

Explore your protagonist’s life, including the internal flaws and external challenges they’ll have to overcome in order to change for the better by the end of the story.

Present the main character’s world as it is, and what is missing in their life.

Also introduce important supporting characters.

Theme Stated (happens during the Set-up)

What your story is about; the message, the truth.

Usually, it is spoken to the main character or in their presence, but they don’t understand the truth/lesson…not until later, when they have some personal experience and context to support it.

Thus, include a scene where a character says something that hints at what the protagonist’s big life lesson will be - how they’ll have to change and grow by the end of the story.

Catalyst (10%)

The moment where life as it is changes.

Examples: It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc.

There’s no going back to the “before” world from here… What is the inciting incident that pushes the protagonist into the next phase of the story?

Debate (11-20%)

But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take.

Show the protagonist questioning themselves and resisting the path ahead - wondering whether they have what it takes, or whether or they should just run home and hide under the bed.

“Should I just…?” “I really shouldn’t because…” “But what about…” Can I face this challenge? Do I have what it takes? Should I go at all?

It is the last chance for the hero to chicken out.

ACT 2

Break Into 2 (20%; Choosing Act Two)

The main character makes a choice and the journey begins.

We leave the “Thesis” world and enter the upside-down, opposite world of Act 2.

They make the choice to begin their adventure/transformation/journey/new thing.

Show your protagonist deciding to plunge into Act 2.

The Promise of the Premise (21-50%)

This is when the reader thinks “Ah, now we’re getting to the good stuff they hinted at on the back cover of this book!”

It’s also one of the longest sections in your book.

Show your protagonist getting used to their new world - loving it, hating it, making mistakes or doing well, meeting new people (see more below) and keeping the reader entertained.

This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

B Story (happens during The Promise of the Premise)

This is when there’s a discussion about the Theme – the nugget of truth.

Usually, this discussion is between the main character and the love interest.

So, the B Story is usually called the “love story”.

Introduce a new character or characters who will eventually help the protagonist learn their life lesson.

Friends? Mentors? Love interests? Nemeses (nemesi?)? Who are they? How will they help?

Midpoint (50%)

This moment is when everything seems “great” or everything seems “awful,” depending on your story.

The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”).

Either the Fun and Games section has lead to a false victory for your protagonist (they think they’ve been doing great so far) or a false defeat (they’ve been having a hard time so far).

What happens in this moment, halfway between beginning and end?

But not everything we think we want is what we actually need in the end.

Bad Guys Close In (51-75%)

Get ready for a bumpy ride. If your Midpoint was a false victory, now things start to go wrong for your protagonist.

If the Midpoint was a false defeat, well, things seem to be looking up, but the bad guys are getting closer and will have something to say.

Note: Bad guys can be actual physical enemies, but they can also be emotional enemies, like doubt or jealousy or fear.

Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

Show the protagonist’s newly-built world beginning to unravel.

This will also be one of the longer sections in your novel.

All is Lost (75%)

This is when something happens to make your character hit rock bottom.

It’s the absolute lowest part of your novel.

Maybe someone or something dies (either literally or figuratively).

The initial goal now looks even more impossible than before. And here, something or someone dies.

It can be physical or emotional, but the death of something old makes way for something new to be born.

What does this moment look like for your protagonist?

Dark Night of the Soul (76-80%)

Your protagonist now has time to react to their “All is lost” moment, to mourn what they lost and wallow in hopelessness.

They’re worse off than they were at the beginning of the novel.

Show how low things have gotten.

Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc.

But, you must fall completely before you can pick yourself back up and try again.

ACT 3

Break Into 3 (80%; Choosing Act Three)

The “aha!” moment; the “lift yourself up and try again” moment.

Show the protagonist realizing what they need to do in order to tackle their problems, both external and internal.

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale (81-99%)

The protagonist does what they decided to do in the Break Intro 3 beat, and (because of all the learning/growing they’ve done and the support or insight from the B Story), their plan works.

This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story.

The Bad Guys are defeated, the world is changed for the better.

What are the battles? How will the protagonist triumph (or not)?

This is another longer section, so you’ve got the space to make things dramatic and intense.

Act Three is about Synthesis.

Final Image (99-100%)

This is the opposite of the Opening Image, the “after” snapshot instead of the “before.”

Show the reader how the protagonist and their world have changed.

THE END

Sources: 1 2 ⚜ Writing Notes & References

[yandere-sins]

You know how, irl, people get fascinated and turned on by the IDEA Of a yandere? And how a yandere, ofc, stalks and learns as much as they can about their darling? I just imagine the Yandere using that to their advantage and to their Darling's horror. "Oh, but you like this don't you? You've read so many smutty tumblr stories about being taken and taken and held hostage. You reblogged so many headcanons about a character killing your bully or that co-worker you hate. I know all your questionable porn tastes. I know all your deep, dark secrets. I know your violent vent posts that I got to enact for you, Darling! I've given you everything you've ever fantasized about, so of course you'll love me. <3" And of course, the yandere fails to realize that any of those behaviors or actions in real life is absolutely, gut-wrenchingly horrifying. But they think they're giving their darling everything they could ever want, and they'll continue to do so until they stop playing hard to get.

Ngl, probably one of my worst fears for the future, but thanks for requesting because it makes good yandere content :'D

I'm imagining a really smug yandere, you know? One that thinks they are doing you such a big favor and give you all their love by expressing it this way. But in reality, they don't even realize how messed up it is.

They were just breaking into your home after you went to bed to admire their darling from afar for a little bit. They are not daring to stir you from your sleep when they can stand beside you and watch. It is enough; they won't be greedy. But they couldn't have known they'd find the holy grail of smut and depravity on your bookshelf when they started browsing as their curiosity got the better of them. They are almost appalled by their darling, if not for the fact that when they browse through the pages of a random book, the words kidnapping, stalking, love, murder, and quite a few more seem like a temptation made for them especially.

So, you actually like that kind of stuff, huh?

Someone following you on a dark street, their steps noticeable but their face masked as they are always just five steps behind you. You run, they run. There's a red rose on your windowsill the next day. It scares you, but they know now that you are just pretending. That your heart is beating faster now, elated by the chase and the promise of love it brings. The fact that you have your own mad person excites you. The yan continues to borrow one book after the other, annotates them, and takes notes for themselves before putting them back onto your shelf for you to find one day, horrified to see lots of "I'd love to do this to you," "How about I kill the coworker you hate—would that make you love me?" and "Love this, love you, always you" in them.

They thought being a silent observer, loving you from afar, was the way to be with you. But they can't help but masturbate to the sex scenes, thinking about how they'd reenact them with you. Your books will be devastatingly ruined by stains and tears in the pages as they have either ripped out a scene to save for later or bit into the book as they've hit their orgasm. Your bookshelf was a collection of dark romance before, but now it is literally the remnant of a massacre of the once neat collection.

But of course, they won't stop there.

Everyone gets sick of reading books someday, even though it's been nice doing it sitting next to you—part of the yan hoping you might wake up and they get to act out some of the scenes you read about. However, there are more things to uncover and learn from. Your public social media they've stalked so far was nice and dandy, but the favorites and posts you hide on your private computer have so much potential to learn from.

The yan can learn about all these little desires of yours. The masks you like, how you want to be taken, cared for, and loved forever. You seem to believe in soulmates—crazy! They do, too! If the yan is delusional enough, it turns out that you two are so similar to each other—a perfect match. Even the kinks they didn't share with you before can be arranged with enough dedication to you. They'll make preparations so you'll be able to ease into these depraved things that you kept hidden from them. You might have been afraid to act on your desires, but the yan is ready to let you live them out to the fullest.

Never mind that you cry after being chased home, it's what you wanted, right? It doesn't matter how you actually feel when they harass and stalk you, leave you little notes and flowers everywhere, because they are just doing what your book-partners would do (it worked for them, after all). You wanted the yan to be possessive over you; why are you sad that no one wants to be your friend when the yan went to the trouble of making sure everyone would be too scared to approach you? And really, aren't you grateful for the yan taking care of your coworker problem? Was sending you their pinky not enough proof of their love?

How come you don't love them yet? When will you love them like the protagonists of your books?

Haven't they done enough? Are you seriously saying you don't like their gifts and dedication to you? Or perhaps you are just trying to play hard to get... of course! That must be it. You are so lovely; you must know that you deserve to be desired immensely. Only they can desire you as much as to go to such lengths, but perhaps it hasn't been enough yet. You deserve more. You are waiting for the yan to prove their undying, absolute love for you. It must be something big, something extraordinary. Something that will show you just how much they care about your interests and especially you.

They will take you and give you the life you want—you deserve.

Even if you hate them for it.

[oristian]

ELUCIEN | GWYNRIEL — MAASVERSE SPOILERS

I tend to see posts and videos from a multitude of people who seem to be reluctant to accept foreshadowing in the ACOTAR books—specifically regarding the endgame couples to finish out the overall series. As this post is simply beating a dead horse down, I find that it is very much needed as a specific group of people lack the capacity to understand the books.

Foreshadowing is not meant to be obvious. There are, of course, cases where it is relatively obvious, but only within the parameters of back-to-back scenes. Foreshadowing is meant to be picked up on, but to be fully understand later on in the story when everything comes to fruition. Examples of foreshadowing include color descriptions, specific use of language, emphasis on certain scenes, emphasis surrounding specific objects, et cetera. If something happens obviously and you can read the scene as-is, it is not foreshadowing.

I see many people who ship Elriel claim that there is buildup across the entire series that foreshadows why they will be endgame. As the books do not support that claim, it is outlandish and a spread of misinformation. Allow me to disprove this theory using the books alone:

— 🌸 ACOTAR: Zero interactions between Elain and Azriel as Azriel had not been introduced as a character yet. This book highlighted Feyre surmising that Elain would thrive within the Spring Court, that her sister enjoyed typical emissary work, and instead introduced Lucien as a character.

— 🦢 ACOMAF: This is the first book where Elain and Azriel met, as is this is where many Elriels like to claim that the Elriel build-up begins. However, this book says otherwise. Elain and Azriel’s first meeting is neutral, quiet conversation to ease a tense situation as Nesta/Feyre/Cassian/Rhys were creating an uncomfortable atmosphere and Elain meant to ease it. This book highlighted how in love Azriel was with Mor and how Elain was engaged to Grayson. Many Elriels also claim that the color of Elain’s dress in this first meeting—being cobalt—is indicative of endgame between she and Azriel. However, cobalt is also the signature color of Grayson’s family crest. Their interactions die out after that first meeting and instead focus on Feysand again. The throne room scene in Hybern also showed the beginning of Elucien and their mate bond, while Azriel was on the floor reaching for Mor. (I go more into this on my Tik Tok page: @oristian)

— 🔥 ACOWAR: When Feyre returns to the Night Court after her month in Spring, she finds that Elain has been within a catatonic state for the entirety of that month and has shown no signs of recovering—that is, until Lucien came along. Elain began eating and moving around once he came and after tugging on the mating bond, her visions first started showing. themselves. Everyone likes to credit Azriel for most of this, but all that Azriel did (take her to the garden) was suggested previously by Lucien. Lucien, who was not able to be alone with her due to Nesta and Feyre. Next, everyone tends to say that Azriel “saw” Elain when he named her power. “What we need is …” Contradicts such a thing. Naming a power does not cure someone of their trauma. Lucien is also canonically the first character to take Elain’s visions seriously and went in search of Vassa, ultimately finding Papa Archeron and creating an even deeper connection into the Koschei plot arc with Elain. This is also where we get the iconic half-step on the stair scene.

Elain is now kidnapped by the cauldron portraying itself as Graysen—Elain wanting so badly to be with her previous lover. This is a scene where many Elriels claim that it is supportive of Elriel being endgame. However, it is within character for Azriel to save someone, especially people close to him. Certainly, Elain being appreciative of being saved and kissing him on the cheek is cute, but that is not enough “foreshadowing” for an endgame. Next, Azriel hands her Truth Teller after Elain refused other weapons. Elain is hesitant and only agrees to take it once Feyre chimes in that she will not have to use it. Juxtapose this with Elain immediately giving it back after the battle is over, not saying a word, and instead falling into conversation with Lucien. Lucien, who is canonically the only character to credit her for assisting with ending the King of Hybern.

— 🌨️ ACOFAS: This is the buffer book that was meant to do two things: Establish Nessian as the next couple for the following book, and establish a clear love triangle between Azriel/Elain/Lucien. Elriels use this book to drive the idea of an Elriel endgame. While this book has scenes between Elain and Azriel, there is unfortunately no foreshadowing present enough to support that claim. This novella emphasizes, from a conversation between Rhys and Feyre, that Azriel may be inclined towards Elain due to her having traits that may remind him of his mother (Freud). We also have Solstice where Lucien brings Elain a gift—a gift that fully reflects her interests—Elain brings Azriel a gift, but Azriel does not bring Elain a gift. Azriel even questioning beforehand if he has to get the sisters a gift at all. Elain’s gift being superficial and more of a joke than anything truly meaningful to them as a relationship.

— 🗡️ ACOSF: The book that ended Elriel. We have this book set up as PRE-BONUS CHAPTER | BONUS CHAPTER | POST BONUS CHAPTER. In the pre-bonus chapter, we have a few scenes between Elain and Azriel that is a glance, or a very small interaction. The infamous scene that Elriels like to use to “prove” that his shadows actually like Elain is the scene where Cassian says that Nesta upset Elain and his shadows seemed poised to strike. His shadows reacted to his anger, not to Elain. Next, the Solstice scene where Azriel refused to be within the room due to the mating bond between Elain and Lucien and Nesta seeing that he was interested in Elain—which is never brought up again, however we do get a scene post bonus chapter of Nesta encouraging Gwyn and Azriel by calling him the “new ribbon.”

The bonus chapter ended Elriel officially as endgame. The chapter is told from Azriel’s POV and documents his lustful thoughts of Elain and how he wants a mate, hurt and confused why his brothers had two of the Archeron sisters and the third was given away to another male. Rhysand even asking Azriel what his plans are after seducing Elain and Azriel having none “past the fantasies he pleasures himself to.” This is also a chapter where Elriels like to claim that Elriel is a forbidden romance. ACOWAR Rhys clearly objects to this being the case. (I have a video on my Tik Tok going over this @oristian) The bonus chapter then moves to Azriel finding Gwyn, his shadows not warning him of her presence at the HoW. His shadows are curious about her and dance with her breath. Azriel then finds out that Elain rejected his necklace—the only Solstice gift that he has gotten her, and one he expressed as “nothing extraordinary”—and the next morning finds him re-gifting such to Gwyn. Azriel can picture her eyes lighting up at the gift and he smiles—this is also where mate language is used to describe the spark in his chest at the thought of her and the glow of the thought. “A thing of secret, lovely beauty.” A line that was used twice—one to describe the necklace, and another time to describe the thought of Gwyn.

Post bonus chapter has zero interactions between Elain and Azriel. The interactions between Azriel and Gwyn are charged and witty. Energetic. This is also where we see Azriel’s siphons glowing darker at the thought of the Valkyries in the Great Rite—the first instance that this has happened.

Next, we go into the last two remaining plot arcs: Koschei and Dusk Court. Both ACOSF and HOFAS have set Nesta up as the driver for the Dusk Court arc, with Azriel as the character to follow. With SJM’s Bloomsbury contract slating her to have two more main books with dual POV romantic interests, the Dusk Court arc book would only make sense having Gwyn and Azriel as the FMC and MMC of that arc. The Koschei arc has been carefully crafted for Elain and Lucien to be the FMC and MMC of that book, with both of them being set up for this since ACOWAR. Elain with her visions of Vassa, the lake, and Koschei’s black box, and Lucien being tied to Papa Archeron and Vassa and the mortals. (I have a video on my Tik Tok that goes more in depth with this @oristian)

— SUMMARY: Elain and Azriel do not have multiple books of foreshadowing, a Gwynriel and Elucien endgame is not fanservice, and the remaining two plot arcs do not support an Elriel endgame. If you have any problems with that, take it up with SJM.

[elmushterri]

2K followers on tumblr and 30K subscribers on YouTube! In celebration, here’s my story. Not a rewrite. This is all a work in progress and subject to change.

Being a HEMA fencer, I’ve wanted a story semi-based on actual swordsmanship and actual fencing techniques.. but fantasy.

It’s a story like… Spiderverse meets Steven Universe meets Owl House meets She-Ra.

It’s called

The Knight’s Handbook

——————

It’s modern Earth but there are supernatural people who protect it like guardian angels called Knights: Humans who’ve died via sacrificing themselves for someone else, and have been revived (not by choice). They protect humans from things as small as tripping over to protecting them from demons, dragons and other dangerous entities.

A Knight can pull their weapon from a magical, glowing scar called their Mortal Wound, the injury they acquired and a sign of the end of their mortality, like how SU Gems can pull their weapons from their gems. A Knight’s weapon can be anything including guns and crossbows, but these shoot magic/energy bullets or arrows.

Knights have their own realm to go to just for each other, (Gallantia) but can live on Earth hiding as normal humans if they wish (so long as they hide the magic scar!)

They function a bit like bees in that there is a Queen, chosen instantly when someone dies by sacrifice according to ‘qualifications of their soul’ (So not completely random like other Knights). Of course, this only happens when the former Queen is killed. Never have there been two Queen Knights at once, so written history goes. Like bees, that would create a huge issue!

Here is the main character and the main antagonist. For the first time apparently ever, there are Two Queen Knights. A mistake of nature, perhaps?

Sidra Saiffudeen

Our main enby is Sidra, she/they. A normal teen turned Queen Knight chosen right after her death, impaled through the chest (where you can see her Mortal Wound symbol) by saving her father. Her design is based on a bee! Not all Knights’ designs are, but I thought I’d lean into Queen Bee stuff.

She’s the ‘Acknowledged’ Queen. Most Knights, ones in support of the past Queen who just died (it’s a mournful period), back Sidra, but think she’s a bit immature. Sidra adores her new people though and vows to be a good Queen. Knight Queens don’t just sit back like Earth Royalty, they’re the most powerful and therefore in battle a lot. The past Queens tended to be adults (The Captain of the Royal Guard was in love with the past Queen (sapphics >:) ) and so having Sidra around is painful but they do their best to teach her.

Then there’s Juliana Fontana, always called Jules. She… is also a Queen Knight. You can tell this because a Queen’s mortal wound symbol is always the same as the Knight Symbol, a sword. Some Knights went traitor to back Jules rather than Sidra. Jules is a very very tired and sneaky girl, but more academically intelligent than Sidra. She’d be a very different Queen, and that’s why the Knights that took her side did so! She hasn’t figured out how to access her weapon or knight form.

The twist? They haven’t seen each other for a long long time… but Sidra and Jules know each other.

Info on Weapons, Mortal Wounds and Knight Forms.

Lastly, The Title’s “The Knight’s Handbook”… what are Knight Handbooks?

Well, for Knights, along with a weapon you can pull from your Mortal Wound, you also have your Handbook! Every Knight has a Handbook with their symbol on it. Like I said, Queen Knights don’t get their own unique personalised symbol, rather they get the default symbol representing all Knights as a species (unfortunate!).

Every Handbook is personalised except for the first couple pages and chapters. The first few pages *always* contain The Rules of Knighthood. One of which is that there Cannot Be Two Queens. But… have these Handbooks with their strict rules on who your friends and enemies are and what you can or cannot do always been a part of the Knights? Or did someone *write* these books for their own purposes? Control?

Handbooks also contain info on how to fight/fence, how to defeat certain entities, anatomy, etc (I’ll figure out more). But, Handbooks also serve as phones! You write something in your handbook for someone else and your writings will appear in *their* handbook! Not sure, but I imagine handbooks can also be used as little sketch hologram projectors (you sketch a map for example or a plan and project it into the air using your book.)

Sidra and Jules may have this giant plot going on around them because they happen to be Queens, but that doesn’t mean they’re not teenagers who want to have fun. A lot of Knights are kids and teenagers and still have their senses of fun, much to the dismay of the serious adult Knights. But they’re all immortal so they’ve got plenty of time to grow up before they hit an age to stop. Being a Knight is tough and scary cause you *could* die at any time in a fight, so adult Knights tend to protect the teens from going out before they’ve trained properly. Queens are not afforded such a luxury and besides, a lot of teen Knights are totally reckless regardless of what the adults say!

So yeah!

That’s an intro to The Knight’s Handbook. I’d love for people to join in like they did with GunnTech and make their own Knights for this, if you feel inspired. It’s kinda like a DTIYS but instead of Draw This In Your Style, it’s… Draw Your Sona for this concept? Working title… /j If you wanna do something, I suppose tag it with “The Knight’s Handbook” with the apostrophe and whatnot, but I do not expect anything, you guys already do so so much 🧡.

Any art or ocs of The Knight’s Handbook will definitely be featured on my next YT vid and I’ll be reblogging (Plus I would love to draw you guys’ ocs, and basically consider them canon since there’s an infinite number of Knights in TKH!)

Thank you for all your support, guys!

[whileyoureinschoolidothisallday]

Fixing MHA's Ending So It Follows Through With Its Core Themes (And It Basically Fixes Itself)

I don't like retconning at the best of times, but turning what started as essentially a Hope focused narrative into a "realistic" tragedy at the very last second is some wild work.

So I'm gonna do what I do best as a fic writer and fix it!!!!!

The Summary

So, I'm pretty sure all of us were on mostly the same page up until the very last panels of the Shigaraki fight (Having AFO being just "born evil" was probably the start of things not being great, but I'm willing to let that slide because it doesn't really effect the overall function of the story that much). Once that and the epilogue started is where I mostly saw people being like ????????? to a lot of choices, so I'm going to focus on those two sections only.

We're gonna be rewriting:

-The deaths of the Villains + Kurogiri (obvs)

-The overall post-War actions and reactions

-The continued existence of the Commission and the Hero Rankings

-Hawk's fate

-Spinner's fate

-A liiiiitle tweak to Chisaki's fate

-Slight tweaks to the Todorokis

-and finally What to DO with the Villains + Kurogiri now that they're alive

And we'll be starting with...

Toga

Now for a battle that was so beautiful, this really did end up completely falling apart.

I'm not gonna justify every single Villain Rescue I do, but Toga's really comes down to one simple reason for me:

Her bullies literally wanted her to die as atonement.

You don't...typically make your character's fate agree with their bullies or abusers (otherwise???? why are you explicitly portraying them as bullies and abusers to the audience if you want us to ultimately agree with them?????)

Throughout most of the story prior to this, Hori made it a staple in the show that dying for the cause, hurting yourself for the cause, martyring yourself or otherwise telling someone to kill themselves for the cause is a vile thing to do. So, it makes ZERO sense why he would suddenly retcon this at such a critical moment, especially since he already set the stage for it to be wrong in the first place.

(also does anyone also think it was weird/creepy that Hori LITERALLY has her do this with Twice and she very explicitly says "Don't be stupid I don't have to give all of my blood away"? No? Just me?)

Everything happens the same, she still thinks she's sacrificing herself, "If only, if only", blah blah blah

AND THEN...

Hawks

This is such low-hanging fruit plot-wise it actually feels offensive that it went nowhere

Nothing happens with Hawks. We all say it, fans and non-fans alike. He is wasted potential incarnate. His story is a circle and it so easily did not have to be that way because of one simple writing decision:

Hawks and Toga share a blood type.

Up until now, it really did seem like Hawks learned nothing from Jin's death. The first thing he says when he sees the clones is, "We have to kill them now!" But then, picture him still battered and broken from his fight with AFO, wingless, but there is still SOMETHING he can do to save someone's life.

And he puts the needle in his arm instead, and before she can question it, he tells her Jin would want her to live. He's not gonna make the same mistake twice.

(I also think it'd be nice if he said something like how lucky she is, to really go full circle with the Jin story, but I'm not trying dialogue here lol)

And that leads us to...

Shigaraki (and Kurogiri!)

This is a double feature because with the way I'm doing it, I can't save one without the other.

So, something that happens during this and is super anti-climactic and seemingly pointless is Midoriya losing his hands. He gets em back in like 2 seconds, because Eri gives him a surprise rewind almost immediately after. The actual point of it was just to show the brand new rule that physical damage that happens in the vestige world also happens in the real world, so that killing Shigaraki a few chapters later would still make sense.

We're gonna get rid of that rule entirely and just say that Midoriya does not lose his actual arms in the fight, and psychological damage in a ghost world does not reflect physically in reality (or idk. If you DO want that to happen, then just say the embers of the vestiges protected him one last time or something).

And because he doesn't lose his arms, Eri still has a surprise rewind to use.

But before we get to that, we actually have to save Shigaraki. So, here's the super complicated rescue rewrite I came up with. Ready?

Kicking AFO out of his brain and giving him back full control over his body simply does not kill him.

That's it!!!! That's really all that needed to happen!! It was a very conscious choice to make that kill him! It's actually more work and details to kill Shigaraki than it is to save him!! Hori already went out of his way to say that Nana's vestige protected him so that he wasn't completely swallowed by AFO, just so he could say goodbye before fading away anyway. What if, considering the fact that hatred of Nana is what damned him, love FROM Nana actually just plain ol saves him? Full stop? We come full circle. It would make it a fantastic mirror to the Todoroki fight and solidify the theme that love from your/a family, even a broken one, will save you!!

And then further in the background, Bakugou doesn't randomly kill (?????? Even after reading it again I'm still really confused about how Kurogiri dies. I think this is what happens?????) Kurogiri, and instead starts to lose control like they feared. But then, refusing to give up on him, Aizawa hits him with the now-available Rewind Juice and it finally, finally stabilizes his mind for good.

The day is saved.

And that just leaves...

Touya

Unfortunately my stupid husband can't stop trying to kill himself for 2 seconds despite my best efforts to convince him otherwise, so there's really nothing I can do about the extent of his injuries

However, there's LOTS I can do about the way we're treating said injuries! =D

First of all, because Touya is my favorite, I do wanna allow myself the space to briefly rant about how his entire situation was handled because brother. first of all. It's so incredibly obvious that he was supposed to die on the battlefield with his comrades. That man had no fuckin eyeballs by the end of that fight, bffr. And then it was like Hori remembered the thing about the noodles and was like 'oh shit I better at least wrap that up lol' so he brought him back--eyeballs and TEARDUCTS magically intact btw so naturally the audience with reading comprehension was like 'oh he's healing somehow I guess'--just to get that specific moment on the books (and maybe just to draw Touya in his Batman Who Laughs era because I mean he does look pretty sick in the tank) and then turned around and killed him again. With no explanation what the random functioning tearducts and magical regrowth of eyeballs was about.

Like...my guy, you ain't gotta do all that. Again, it's so much harder and more complicated to kill him than it is to keep him alive. Not to mention he was killed OFF-SCREEN. WE DON'T EVEN GET TO SEE ANY--IF ANY--CONVERSATIONS HE HAS WITH SHOUTO OR HIS FAMILY, WHICH WAS THE WHOLE POINT OF NOT KILLING HIM ON THE BATTLEFIELD. INSTEAD OF THE SEXY SHIRTLESS SERVING-FACE-AT-A-FUNERAL IMAGE OF TOUYA WE COULD'VE SEEN A FLASHBACK OF THEM TALKING AND HIM SMILING AND BEING HAPPY WITH THEM FOR WHATEVER TIME THEY HAD AND THAT STILL WOULD'VE BEEN MORE SATISFYING. Y'KNOW. BECAUSE THAT WAS THE WHOLE FUCKING POINT OF THE TODOROKI PLOTLINE?????????????VSSSBBNM,.;;PUSAAXXGHIIRWDFGG

But anyway.

Fixing Touya's death is really simple. We can do two things, actually.

Work with the deus-ex Ice Quirk a little bit, make the Phoenix Theory canon. Ice heals him, the tank is a giant fridge. Lo and behold, it would explain why he magically healed eyeballs and tearducts. It's an incredibly slow process, but eventually he'd heal enough to be out of the tank and in a normal hospital setting for the rest of his recovery. It also gives him a goal to pursue for the future, I.E learning how to control the new side of his powers and mayybeeee getting interested in studying Quirk Biology in the process 👀

He simply!!!!!! Doesn't die!!!!!!!!! Out of ALLLLLLL the MHA characters, I would 100% believe you if you told me that Touya Todoroki nevertheless persisted. That's like...his entire character. You don't even need to give me a reason. His entire character up until now has been 'the one that's somehow still alive' to the point that the fucking Dr. Eggman lookin ass mad scientist that brought him back to life in the first place (in WORSE condition) was like 'yeah no idea how he's still here that's scary'. I'm sorry, the entire fucking show I've had to see A. An old man without a face with a back alley ventilator system shoved directly into his stoma that's somehow fine and talking perfectly, and B. Another old man missing his ENTIRE digestive tract for years and is still up and walking around somehow with no G-tube or colostomy bag to be seen, so I think by the power of God and Anime, Touya could probably survive his injuries and it would be within the realm of believability for the show. In fact, it's LESS believable that he stayed alive through all that by spite alone and then when he finally gets offered love and acceptance, that determination and tenacity to stay alive suddenly goes out the window. If anything, it should've made him MORE determined to live.

Sorry I got carried away with that one. But there. Everyone is saved and the core themes are intact.

Now we just have...

The Overall Actions and Reactions Post-War

Gonna sum this up really quickly:

-The cameras never turned off. They're built for Quirk resistance because they're a fucking newscast in a Hero society if their technology broke every time there were heavy Quirk exchanges there would never be any fucking news. Making them conveniently lose footage so none of the civs can see the Villains humanity is just rubbing salt in the wound and serves no narrative purpose in line with pre-established themes. Everyone saw what was recorded, and it helped the Villains' cases for rehabilitation.

-We do not censor out this battle in future history books. Everyone is very familiar with the final fight and the events and circumstances leading up to it. It is not erased from public memory as soon as possible. In fact, it's frequently studied and referenced when making new policies to avoid making the same mistakes. Hori. Wtf.

-We do not reinstate the Hero Rankings in any way shape or form, and Shouto is the biggest voice in dismantling this system. Voila, this is now actually the story of how they all became the greatest Heroes, because they aren't ranked. They're all literally the greatest Heroes, and so will everyone after them.

-This IS actually portrayed in the epilogue, but yes, let's be LESS reliant on Heroes and police and MORE invested in the community!!!!!!! Even more so than what's portrayed!!!!! Take another bit from Spider-Man: Anyone can wear the mask!!!!!! Let's make a world where Heroes have too much time on their hands and not just make more of them, right????????? Remember that????????

-WE DO NOT REINSTATE THE COMMISSION. WE GOT RID OF THEM CORRUPT HOES FOR A REASON!!!!!! NO A CHANGE OF THE GUARD IS NOT ENOUGH TO FIX IT WE'RE NOT 7YRS OLD!!!!! HORI. WTF. The only thing I want them to be in charge of is licensing Heroes. I want these fuckers to be the DMV of the Hero world and that's IT!!!!!!!

Which brings us to...

Hawks' Fate

I don't even fuck with this man like that, but he did not deserve to become CEO of the organization that groomed and abused him since he was a child when all he wanted to do was chase tail and fuck off to a beach somewhere. Considering the fact that he also, like, killed people he shouldn't have, let him retire like Endeavor, please. We're done giving the old guard power and privilege, especially when they explicitly did not and do not want it (and when they did have it, they misused it). The only thing I want this man involved with is Toga's recovery alongside Uraraka. Specifically, I want him paying for it and anything else she might need. Fuck it, you know what, make HIM Endeavor's personal aide instead of Rei!!!! He gets to be a little simp and Endeavor gets a replacement son to fill Natsu's spot. Everyone wins.

(He does deserve that hairline tho. I ain't fixin that.)

So that leaves...

Spinner's Fate

I'm not changing much here, besides the fact that now Shiggy is alive and I think they should be ✨Roommates✨ eventually (and obviously he's gonna be much less riddled with survivor's guilt). I still think he should write that book, but I also think that with his multiple Quirks, he should team up with scientists to understand how Quirks work in the body (and maybe get some of them removed from his).

And next...

Chisaki's Fate

I just think this guy needs to be in the same place as the other Villains, at least for a fraction of the time. Why is he just...out. He was also in that daycare and could definitely use some help before we just let him loose in the streets because he said sorry (Can the League just say sorry then??????????).

I do think afterwards he should get involved with something chemistry related tho, cause those bullets of his came in clutch.

And on that note...

The Todorokis' Fates

And by Todorokis I mean two of them, specifically Rei lol

Yeah, she's not gonna be Endeavor's nurse for the rest of her life lol. That man has more money than God, he can hire an aide like everybody else. In fact, they're not even living together. Do you remember how earlier in the series, he gave them a new house? So they could live away from him and he would be in the old house by himself? I liked that plan. Let's go back to that plan. I'm not gonna go as far as to make them divorce, if they're together they're together, but I think separation is a necessary must at this point because if they MUST stay together, they should at least try dating for once???????? Girl was actually bought like maybe they figure out if they even still like each other at all, or ever did.

(Also, I have to laugh as a motorized wheelchair user that Hori drew her pushing Endeavor all happy and blissfully. Motorized wheelchairs are not meant to be pushed like that lol. They have push features for emergencies and small around-the-house distances of course, but uh, mine's 350 pounds without me in it. It's not usually anyone's first choice.)

But there is one more Todoroki I have a lot to talk about, so that finally brings us to...

What Do We Do With The Villains + Kurogiri Now That They're Alive???????????

We take everything from comic books except what would actually makes sense with the story lol

Surprise!!!!!! We're doing Arkham!!!!!! This is another low-hanging fruit thing that I'm almost a little offended that it wasn't implemented. Obviously Arkham has its problems in the Batman canon that we're gonna try to avoid, but I honestly think Batman villains and the core MHA Villains are pretty similar in their execution in that they are primarily mentally ill victims of society who have done very terrible things, but the audience (and Batman himself) is actively rooting for them to get better over just rotting in jail or being killed. Two-Faced has killed sooooo many people and has relapsed a ton, but I ultimately still want to see him get better because he was Batman's best friend once and a good man, and what happened to him was a tragedy. I think all the Villains deserve a space where they can humanely heal from their issues and gain support, while also being safely separated from society while they're still dangerous to themselves and others.

Oh, but Batman and his endless money bought Arkham. Who do we know who has access to trust fund money, an investment in the mentally ill, and the bonus of a medical background that could fund such a thing?

Ladies and Gentlemen, please put your hands together for...

Natsuo Todoroki!!!!!!!!!!!!!!!!!!!!!!!

My mans graduates from college and immediately uses his money as a doctor and his inheritance to open up Rindou Sanctuary, in honor of his mother Rei and named after her favorite flower (I don't think he'd want to give Enji the satisfaction of his last name attached to his greatest achievement). He's head doctor on site and the board, and visits Touya every shift once he's healed enough to be transferred to the facility. He is very invested in his brother's treatment and refuses to lose him again--at least not until they're proper old men.

It is publicly funded by donors and taxes alike, and Enji, naturally, is always the highest donor. Call it reparations.

And there you have it! That's how to fix the epilogue. It took longer to type than think about. I could care less about canon shipping, so y'all can keep that (or not). I'm just here to fix the structural problems that have no reason to be here at this point. As I said, once I redrew lines Hori already set up and just abandoned, it pretty much fixed itself.

Hope you enjoyed it and I hope it eases the grief a little!!!!! They're alive look I fixed it!!!!!! <3

(also feel free to use anything I said in here in your own fix-it fics!!!! Just tag me so I can read them 👀)

[deusvervewrites]

I’ve been working my way through your stories and your lore posts. I’m also finally catching up to the end of the MHA manga. My thoughts on the endings of various character arcs is something you might vibe with. Sometimes, mercy to the guilty becomes cruelty to the innocent. It’s great writing when the villains are people you can sympathize with, but it’s weird that the heroes are this focused on saving the villains that are causing so much death and destruction. Your thoughts?

The entire point of My Hero Academia is saving people.

From the first page of the first chapter until now that has never changed.

I've seen people criticizing Midoriya for not going out onto the battlefield to personally and deliberately murder Shgiaraki and I wonder if they're the same people who think Aang should have killed Ozai.

The idea of mercy to the guilty leads to cruelty to the innocent is what caused the entire plot. Had the people at the Dawn of Quirks not immediately started murdering children for being born "wrong", All For One wouldn't have had to cope by doubling down on their propaganda to justify his own existence to himself. But those people were "guilty" of being born wrong, and if they showed mercy to them, then what? What if those people turned on them? No, no. Better to not take that chance.

If Kotaro had forgiven his mother, Shigaraki would never have happened.

If the Togas had accepted their daughter, Himiko would never have become a murderer.

Spinner never left the house because he was seen as "guilty" of the sin of being a mutant. People were massacred for that sin.

Civilians nearly murdered Ippan Josei, a civilian herself, because they believed that mercy to the guilty is cruelty to themselves.

The greatest flaw of the Hero System is that it dehumanized everyone under it. The Heroes were flawless paragons who could never live up to their own hype and swiftly abandoned for failing. The Villains were deemed to be inherently bad and punished for it.

Endeavor was allowed to abuse his wife and all four children and faced no repercussions. Because he's a Hero and Heroes are good. Touya wasn't born correctly enough and was punished over a one-sided feud a generation before him.

Nobody was seen as human. That's literally the point of the final battle. Midoriya, Uraraka, Todoroki, they all had to recognize the humanity of the people they were fighting and remind them of it.

The thesis of My Hero Academia, of every single arc of My Hero Academia, is that Heroes are not "good" and Villains are not "evil." That failing to recognize that fact leads to dark places, like a government that doesn't bat an eye at murdering its own citizens to maintain power. Laws that strip you of your own bodily autonomy.

During his battle against All For One at Kamino, All Might states the the reason Heroes never lose is because they have people to save. The chapter titled Bakugou Katsuki: Rising, his origin chapter, is about 300 chapters into the manga and the first time he saves someone.

All For One and the HPSC are both cruel relics of the past doing their best to manipulate their way to power, viewing everyone in their way as disposable pawns. They're the same. You could even make an argument that the laws against Quirk use means the HPSC is literally giving and taking away Quirks via licenses. And they both completely crumble in large part because of their refusal to see people when it is so much easier to see the enemy.

My Hero Academia is a story about extending your hand to those in need.

[scioscribe]

The Great American Memoir

post-canon, Hawkeye & BJ

“I was walking past the bookstore, and I saw it in the window. I had to make the owner open up early so I could touch it and be sure it was real. I had to double-check the copyright page.”

BJ rubbed his eyes. “Hawk, it’s six AM here, and Erin had a sleepover last night. She and her friends decided to teach themselves how to play the piano with, of course, the corollary that practice would make perfect even at two in the morning. I’m tired, you woke me up, you woke Peg up, and I have no idea what you’re talking about. Call back later.”

“I shouldn’t have added to his royalties, but I couldn’t resist. To Serve Was Heaven: A Surgeon’s Story of Life at the Front Lines: A Memoir. Two colons. You know what that means it’s twice as full of.”

“Someone wrote a memoir.”

“Someone! Someone! Frank Burns, Beej, Ferret Face himself.”

Three girls banging away at “Chopsticks” in the small hours of the morning took an abrupt backseat in terms of importance. “Frank wrote a memoir? You’re sure?”

“I’m telling you, I’m holding it right here in my hands.”

“Okay. You were right to wake me up.”

Hawkeye crowed with laughter, and it was the kind of delight that BJ felt younger just listening to. He smiled, and there was a beat of silence where he felt like Hawkeye knew that—sometimes the world just lined up that way, at least for them, and it didn’t matter how many miles were between them.

“You’ll have to read it to me,” BJ said. “It’s bad enough that you put money in Frank’s pocket, I’m not giving him mine.”

“You think you could stop me from reading it to you? You’re destined to my dulcet tones in nightly phone calls until we get through all three hundred sixty-eight pages. Not counting footnotes.”

“Pictures?”

“No, no, nothing but maps.”

“Well, that makes sense.”

“Right. Everyone knows Frank can’t be photographed.”

“Like Dracula,” BJ agreed. “You know, never mind reading it to me. Bring it here. Maybe we could get a couple people together. Can you find someone to look after your practice for a week or two?”

“For this kind of reunion? I’ll bribe every doctor on the Eastern Seaboard. Well, except Charles. I’ll have to bring him with me.”

“You sure he’ll come? For a 4077 book club that didn’t exist until this morning? He never even met Frank.”

“Oh, he’ll come,” Hawkeye said.

“You know what that is, don’t you,” BJ said. “The confidence of an only child, someone who’s always been used to wrapping other people around their little finger.”

“That’s a horrible way to think about it. I don’t have the confidence of an only child, I have the confidence of a man with long eyelashes. I bat them and I get what I want because I’m so adorable.”

“A little ineffective over the phone.”

“Then I’ll see him in person! I’m telling you, he’ll say yes. And if he doesn’t, I’ll bring him in the trunk of my car.”

“You’re not flying?”

“Well, not if I have to kidnap Charles. He wouldn’t fit in my carry-on. Besides, we can’t do this without Margaret, and if I drive, I can pick her up on the way and save her the cost of a plane ticket.”

“And by that point, if they’re looking for whoever took Charles, they won’t be looking for a man and a woman. You’ll get through all the roadblocks. What about Trapper? We should at least get the whole Swamp complement—Frank by proxy—along with Margaret. Can’t really throw together a full reunion at such short notice, but at least with a smaller one I can offer up some spare bedrooms.”

“I’ll talk to Trapper.”

“You’ll bat your eyelashes.” BJ paused. He was running one finger along the telephone cord, in and out of the loops. “It’ll be good to see you.”

“Yeah.” Hawkeye’s voice was a little rougher now. “You too. Give my love to Peg and Erin, but hold a little of it back for yourself, okay?”

“I think I can do that.”

He went back to bed after that, spooning up against Peg’s back. She shifted a little, enough so she wouldn’t be talking into the pillow, and said, “Is everything all right with Hawkeye?”

“Fine. He sends his love. I’m sorry the phone woke you.” He stroked her shoulder. “What would you think about us hosting, say, Hawk and Margaret and Charles and Trapper? On the grounds that Frank wrote a book, so it’s a very special occasion.”

Peg rolled over. BJ stole Hawkeye’s tactic and batted his eyelashes at her.

“Frank Burns wrote a book,” she said.

“A memoir of his wartime experience.”

“Are you in it?”

“We can only hope.”

“My God,” Peg said. “I’ll make up the spare rooms.”

[mostlysignssomeportents]

The AI hype bubble is the new crypto hype bubble

Back in 2017 Long Island Ice Tea — known for its undistinguished, barely drinkable sugar-water — changed its name to “Long Blockchain Corp.” Its shares surged to a peak of 400% over their pre-announcement price. The company announced no specific integrations with any kind of blockchain, nor has it made any such integrations since.

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

LBCC was subsequently delisted from NASDAQ after settling with the SEC over fraudulent investor statements. Today, the company trades over the counter and its market cap is $36m, down from $138m.

https://cointelegraph.com/news/textbook-case-of-crypto-hype-how-iced-tea-company-went-blockchain-and-failed-despite-a-289-percent-stock-rise

The most remarkable thing about this incredibly stupid story is that LBCC wasn’t the peak of the blockchain bubble — rather, it was the start of blockchain’s final pump-and-dump. By the standards of 2022’s blockchain grifters, LBCC was small potatoes, a mere $138m sugar-water grift.

They didn’t have any NFTs, no wash trades, no ICO. They didn’t have a Superbowl ad. They didn’t steal billions from mom-and-pop investors while proclaiming themselves to be “Effective Altruists.” They didn’t channel hundreds of millions to election campaigns through straw donations and other forms of campaing finance frauds. They didn’t even open a crypto-themed hamburger restaurant where you couldn’t buy hamburgers with crypto:

https://robbreport.com/food-drink/dining/bored-hungry-restaurant-no-cryptocurrency-1234694556/

They were amateurs. Their attempt to “make fetch happen” only succeeded for a brief instant. By contrast, the superpredators of the crypto bubble were able to make fetch happen over an improbably long timescale, deploying the most powerful reality distortion fields since Pets.com.

Anything that can’t go on forever will eventually stop. We’re told that trillions of dollars’ worth of crypto has been wiped out over the past year, but these losses are nowhere to be seen in the real economy — because the “wealth” that was wiped out by the crypto bubble’s bursting never existed in the first place.

Like any Ponzi scheme, crypto was a way to separate normies from their savings through the pretense that they were “investing” in a vast enterprise — but the only real money (“fiat” in cryptospeak) in the system was the hardscrabble retirement savings of working people, which the bubble’s energetic inflaters swapped for illiquid, worthless shitcoins.

We’ve stopped believing in the illusory billions. Sam Bankman-Fried is under house arrest. But the people who gave him money — and the nimbler Ponzi artists who evaded arrest — are looking for new scams to separate the marks from their money.

Take Morganstanley, who spent 2021 and 2022 hyping cryptocurrency as a massive growth opportunity:

https://cointelegraph.com/news/morgan-stanley-launches-cryptocurrency-research-team

Today, Morganstanley wants you to know that AI is a $6 trillion opportunity.

They’re not alone. The CEOs of Endeavor, Buzzfeed, Microsoft, Spotify, Youtube, Snap, Sports Illustrated, and CAA are all out there, pumping up the AI bubble with every hour that god sends, declaring that the future is AI.

https://www.hollywoodreporter.com/business/business-news/wall-street-ai-stock-price-1235343279/

Google and Bing are locked in an arms-race to see whose search engine can attain the speediest, most profound enshittification via chatbot, replacing links to web-pages with florid paragraphs composed by fully automated, supremely confident liars:

https://pluralistic.net/2023/02/16/tweedledumber/#easily-spooked

Blockchain was a solution in search of a problem. So is AI. Yes, Buzzfeed will be able to reduce its wage-bill by automating its personality quiz vertical, and Spotify’s “AI DJ” will produce slightly less terrible playlists (at least, to the extent that Spotify doesn’t put its thumb on the scales by inserting tracks into the playlists whose only fitness factor is that someone paid to boost them).

But even if you add all of this up, double it, square it, and add a billion dollar confidence interval, it still doesn’t add up to what Bank Of America analysts called “a defining moment — like the internet in the ’90s.” For one thing, the most exciting part of the “internet in the ‘90s” was that it had incredibly low barriers to entry and wasn’t dominated by large companies — indeed, it had them running scared.

The AI bubble, by contrast, is being inflated by massive incumbents, whose excitement boils down to “This will let the biggest companies get much, much bigger and the rest of you can go fuck yourselves.” Some revolution.

AI has all the hallmarks of a classic pump-and-dump, starting with terminology. AI isn’t “artificial” and it’s not “intelligent.” “Machine learning” doesn’t learn. On this week’s Trashfuture podcast, they made an excellent (and profane and hilarious) case that ChatGPT is best understood as a sophisticated form of autocomplete — not our new robot overlord.

https://open.spotify.com/episode/4NHKMZZNKi0w9mOhPYIL4T

We all know that autocomplete is a decidedly mixed blessing. Like all statistical inference tools, autocomplete is profoundly conservative — it wants you to do the same thing tomorrow as you did yesterday (that’s why “sophisticated” ad retargeting ads show you ads for shoes in response to your search for shoes). If the word you type after “hey” is usually “hon” then the next time you type “hey,” autocomplete will be ready to fill in your typical following word — even if this time you want to type “hey stop texting me you freak”:

https://blog.lareviewofbooks.org/provocations/neophobic-conservative-ai-overlords-want-everything-stay/

And when autocomplete encounters a new input — when you try to type something you’ve never typed before — it tries to get you to finish your sentence with the statistically median thing that everyone would type next, on average. Usually that produces something utterly bland, but sometimes the results can be hilarious. Back in 2018, I started to text our babysitter with “hey are you free to sit” only to have Android finish the sentence with “on my face” (not something I’d ever typed!):

https://mashable.com/article/android-predictive-text-sit-on-my-face

Modern autocomplete can produce long passages of text in response to prompts, but it is every bit as unreliable as 2018 Android SMS autocomplete, as Alexander Hanff discovered when ChatGPT informed him that he was dead, even generating a plausible URL for a link to a nonexistent obit in The Guardian:

https://www.theregister.com/2023/03/02/chatgpt_considered_harmful/

Of course, the carnival barkers of the AI pump-and-dump insist that this is all a feature, not a bug. If autocomplete says stupid, wrong things with total confidence, that’s because “AI” is becoming more human, because humans also say stupid, wrong things with total confidence.

Exhibit A is the billionaire AI grifter Sam Altman, CEO if OpenAI — a company whose products are not open, nor are they artificial, nor are they intelligent. Altman celebrated the release of ChatGPT by tweeting “i am a stochastic parrot, and so r u.”

https://twitter.com/sama/status/1599471830255177728

This was a dig at the “stochastic parrots” paper, a comprehensive, measured roundup of criticisms of AI that led Google to fire Timnit Gebru, a respected AI researcher, for having the audacity to point out the Emperor’s New Clothes:

https://www.technologyreview.com/2020/12/04/1013294/google-ai-ethics-research-paper-forced-out-timnit-gebru/

Gebru’s co-author on the Parrots paper was Emily M Bender, a computational linguistics specialist at UW, who is one of the best-informed and most damning critics of AI hype. You can get a good sense of her position from Elizabeth Weil’s New York Magazine profile:

https://nymag.com/intelligencer/article/ai-artificial-intelligence-chatbots-emily-m-bender.html

Bender has made many important scholarly contributions to her field, but she is also famous for her rules of thumb, which caution her fellow scientists not to get high on their own supply:

Please do not conflate word form and meaning

Mind your own credulity

As Bender says, we’ve made “machines that can mindlessly generate text, but we haven’t learned how to stop imagining the mind behind it.” One potential tonic against this fallacy is to follow an Italian MP’s suggestion and replace “AI” with “SALAMI” (“Systematic Approaches to Learning Algorithms and Machine Inferences”). It’s a lot easier to keep a clear head when someone asks you, “Is this SALAMI intelligent? Can this SALAMI write a novel? Does this SALAMI deserve human rights?”

Bender’s most famous contribution is the “stochastic parrot,” a construct that “just probabilistically spits out words.” AI bros like Altman love the stochastic parrot, and are hellbent on reducing human beings to stochastic parrots, which will allow them to declare that their chatbots have feature-parity with human beings.

At the same time, Altman and Co are strangely afraid of their creations. It’s possible that this is just a shuck: “I have made something so powerful that it could destroy humanity! Luckily, I am a wise steward of this thing, so it’s fine. But boy, it sure is powerful!”

They’ve been playing this game for a long time. People like Elon Musk (an investor in OpenAI, who is hoping to convince the EU Commission and FTC that he can fire all of Twitter’s human moderators and replace them with chatbots without violating EU law or the FTC’s consent decree) keep warning us that AI will destroy us unless we tame it.

There’s a lot of credulous repetition of these claims, and not just by AI’s boosters. AI critics are also prone to engaging in what Lee Vinsel calls criti-hype: criticizing something by repeating its boosters’ claims without interrogating them to see if they’re true:

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

There are better ways to respond to Elon Musk warning us that AIs will emulsify the planet and use human beings for food than to shout, “Look at how irresponsible this wizard is being! He made a Frankenstein’s Monster that will kill us all!” Like, we could point out that of all the things Elon Musk is profoundly wrong about, he is most wrong about the philosophical meaning of Wachowksi movies:

https://www.theguardian.com/film/2020/may/18/lilly-wachowski-ivana-trump-elon-musk-twitter-red-pill-the-matrix-tweets

But even if we take the bros at their word when they proclaim themselves to be terrified of “existential risk” from AI, we can find better explanations by seeking out other phenomena that might be triggering their dread. As Charlie Stross points out, corporations are Slow AIs, autonomous artificial lifeforms that consistently do the wrong thing even when the people who nominally run them try to steer them in better directions:

https://media.ccc.de/v/34c3-9270-dude_you_broke_the_future

Imagine the existential horror of a ultra-rich manbaby who nominally leads a company, but can’t get it to follow: “everyone thinks I’m in charge, but I’m actually being driven by the Slow AI, serving as its sock puppet on some days, its golem on others.”

Ted Chiang nailed this back in 2017 (the same year of the Long Island Blockchain Company):

There’s a saying, popularized by Fredric Jameson, that it’s easier to imagine the end of the world than to imagine the end of capitalism. It’s no surprise that Silicon Valley capitalists don’t want to think about capitalism ending. What’s unexpected is that the way they envision the world ending is through a form of unchecked capitalism, disguised as a superintelligent AI. They have unconsciously created a devil in their own image, a boogeyman whose excesses are precisely their own.

https://www.buzzfeednews.com/article/tedchiang/the-real-danger-to-civilization-isnt-ai-its-runaway

Chiang is still writing some of the best critical work on “AI.” His February article in the New Yorker, “ChatGPT Is a Blurry JPEG of the Web,” was an instant classic:

[AI] hallucinations are compression artifacts, but — like the incorrect labels generated by the Xerox photocopier — they are plausible enough that identifying them requires comparing them against the originals, which in this case means either the Web or our own knowledge of the world.

https://www.newyorker.com/tech/annals-of-technology/chatgpt-is-a-blurry-jpeg-of-the-web

“AI” is practically purpose-built for inflating another hype-bubble, excelling as it does at producing party-tricks — plausible essays, weird images, voice impersonations. But as Princeton’s Matthew Salganik writes, there’s a world of difference between “cool” and “tool”:

https://freedom-to-tinker.com/2023/03/08/can-chatgpt-and-its-successors-go-from-cool-to-tool/

Nature can claim “conversational AI is a game-changer for science” but “there is a huge gap between writing funny instructions for removing food from home electronics and doing scientific research.” Salganik tried to get ChatGPT to help him with the most banal of scholarly tasks — aiding him in peer reviewing a colleague’s paper. The result? “ChatGPT didn’t help me do peer review at all; not one little bit.”

The criti-hype isn’t limited to ChatGPT, of course — there’s plenty of (justifiable) concern about image and voice generators and their impact on creative labor markets, but that concern is often expressed in ways that amplify the self-serving claims of the companies hoping to inflate the hype machine.

One of the best critical responses to the question of image- and voice-generators comes from Kirby Ferguson, whose final Everything Is a Remix video is a superb, visually stunning, brilliantly argued critique of these systems:

https://www.youtube.com/watch?v=rswxcDyotXA

One area where Ferguson shines is in thinking through the copyright question — is there any right to decide who can study the art you make? Except in some edge cases, these systems don’t store copies of the images they analyze, nor do they reproduce them:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

For creators, the important material question raised by these systems is economic, not creative: will our bosses use them to erode our wages? That is a very important question, and as far as our bosses are concerned, the answer is a resounding yes.

Markets value automation primarily because automation allows capitalists to pay workers less. The textile factory owners who purchased automatic looms weren’t interested in giving their workers raises and shorting working days. ‘ They wanted to fire their skilled workers and replace them with small children kidnapped out of orphanages and indentured for a decade, starved and beaten and forced to work, even after they were mangled by the machines. Fun fact: Oliver Twist was based on the bestselling memoir of Robert Blincoe, a child who survived his decade of forced labor:

https://www.gutenberg.org/files/59127/59127-h/59127-h.htm

Today, voice actors sitting down to record for games companies are forced to begin each session with “My name is ______ and I hereby grant irrevocable permission to train an AI with my voice and use it any way you see fit.”

https://www.vice.com/en/article/5d37za/voice-actors-sign-away-rights-to-artificial-intelligence

Let’s be clear here: there is — at present — no firmly established copyright over voiceprints. The “right” that voice actors are signing away as a non-negotiable condition of doing their jobs for giant, powerful monopolists doesn’t even exist. When a corporation makes a worker surrender this right, they are betting that this right will be created later in the name of “artists’ rights” — and that they will then be able to harvest this right and use it to fire the artists who fought so hard for it.

There are other approaches to this. We could support the US Copyright Office’s position that machine-generated works are not works of human creative authorship and are thus not eligible for copyright — so if corporations wanted to control their products, they’d have to hire humans to make them:

https://www.theverge.com/2022/2/21/22944335/us-copyright-office-reject-ai-generated-art-recent-entrance-to-paradise

Or we could create collective rights that belong to all artists and can’t be signed away to a corporation. That’s how the right to record other musicians’ songs work — and it’s why Taylor Swift was able to re-record the masters that were sold out from under her by evil private-equity bros::

https://doctorow.medium.com/united-we-stand-61e16ec707e2

Whatever we do as creative workers and as humans entitled to a decent life, we can’t afford drink the Blockchain Iced Tea. That means that we have to be technically competent, to understand how the stochastic parrot works, and to make sure our criticism doesn’t just repeat the marketing copy of the latest pump-and-dump.

Today (Mar 9), you can catch me in person in Austin at the UT School of Design and Creative Technologies, and remotely at U Manitoba’s Ethics of Emerging Tech Lecture.

Tomorrow (Mar 10), Rebecca Giblin and I kick off the SXSW reading series.

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[Image ID: A graph depicting the Gartner hype cycle. A pair of HAL 9000's glowing red eyes are chasing each other down the slope from the Peak of Inflated Expectations to join another one that is at rest in the Trough of Disillusionment. It, in turn, sits atop a vast cairn of HAL 9000 eyes that are piled in a rough pyramid that extends below the graph to a distance of several times its height.]

[vickyvicarious]

Honestly, I think it could be very impactful if Van Helsing did die in the graveyard tonight. It'd continue the trend of people taking any direct stand against Dracula being killed almost casually in return. Up the stakes even more. Maybe he could be found the next morning on a grave with his neck broken, a look of fear or defiance on his face - a reminder of Mr. Swales's death.

Jack would get the note and then find him or hear about him being found in the graveyard. The suitors would arrive thanks to the note the Professor sent them and they'd link up with him. I imagine they would go together anyway, though more expecting to support a Jack who is wondering if it can be real after all or if it was just madness before he was murdered somehow. They would all learn just how true it is together, would have to save each other and then follow the directions left to them. Or possibly seek out the Harkers first and then they might be involved in the Bloofer Lady staking. That would be a good moment of horror too, Mina seeing Lucy like this...

When the groups united they'd have to do research of their own, or go through the documents left behind by Van Helsing. Books of fairy tales and superstitions, pages with scattered notes, comparing them to the diaries...

Thematically, it would fit pretty well with all the other deaths around this part of the book. The parents are all dead and gone. And while Van Helsing is not a parent to anyone here, he was a mentor and guide to Jack in particular. He would join in with the others who now are orphaned/have to figure things out themselves. Jonathan has inherited the responsibilities of a law firm, Arthur has inherited the title and all that goes with it, Jack would inherit Van Helsing's final task.

There would be more collaboration in general (rather than all mostly following) and more leadership emerging from Mina, probably. None of the suitors are going to be as ready to take the lead in this situation, at least not as totally as Van Helsing. Of course, issues with her being left behind probably aren't going to just totally go away. But I imagine less so, or in a different way. Along the way I think there could be more moments for Arthur or Quincey to shine as well, stepping in at different points where originally Van Helsing took the floor.

The end of the story, where everyone splits up three ways, would have to be changed somehow, of course. Either someone has to go alone, or they have to ignore one route entirely. But I think that might be the biggest actual plot change you'd find completely necessary. Other than what happens to Mina, of course. I do think Dracula would still go after Mina somehow, even if she went with them to examine his boxes. But maybe they wouldn't get to the point of doing so as quickly until they collated all their info. Maybe things happen slower, maybe what happened the final night (Jonathan hypnotized into sleep right next to him) would happen more often. Oh, I guess the other change might be no one to hypnotize Mina while spying, unless this is some skill Quincey happens to have or whatever. But then, Jack seems familiar at least with the theory, so maybe he could make an attempt at it.

I mean, there's no reason you would have to stick that closely to the original story. But for the most part I think you could if you wanted, and it would just be a different tone that would still be really powerful. And it would be kind of interesting to have Van Helsing's role be limited to failing to save Lucy throughout. Hiding information right up until he tries to share it, after which he dies. That phrasing makes it sound really brutal, but... I mean it would kind of be brutal, but his legacy would be bringing the two groups together, showing them the truth (or confirming it as the case may be) and entrusting them with the future.

[cannedpickledpeaches]

Insert Your Name (1)

Mafia!Jade Leech x Mafia!Reader

Link to series masterlist!

Notes and TW: I wanted to write something that simultaneously includes some fun Jade moments as well as my own thoughts on some tropes. This series will have mentions of blood, violence, crime (kidnapping, attempted assassination, extortion), and harassment, as one might expect from a mafia AU. Please enjoy!

You’ve known the truth for a while—that this world exists inside a story. This is a world that revolves around a nameless, faceless, flawless main character. This entire world around you exists to serve one purpose: to present trials to the main character until she eventually finds a happy ending with her one and only. This world is created for “(Y/N).”

You are Friend A. Friend A is a foolish girl who puts (Y/N) into a dangerous situation, involving her with the mafia. (Y/N) is saved by a tall, dark, and brooding man who turns out to be a mafia boss. They will face dangers in the underworld until all threats are eliminated, and then they will live out the rest of their lives in blissful peace as though they are good people. Friend A is never mentioned again after page two.

You are Friend A. You are aware of that.

So why don’t you break out of your role in this story? Why should you play your part instead of using this knowledge to change the flow of the plot?

Simply because the plot is beneficial to you.

You are Friend A. You are a core member of the Leech Mafia. When (Y/N) enters the mafia, her actions flick the first domino of a long chain of events, eventually leading to the prosperity of the Leech family and expanding their influence. Because no matter what, this story caters to (Y/N)’s livelihood.

And why should you interfere with something that will eventually pay out big for you?

There she is now, coming down the street with a smile. Her indistinct hair is in a messy bun that she always throws together in seconds. Her pants emphasize her incredibly tiny waist, and her eyes sparkle with the light of constellations when she sees you. A light blush dusts her cheeks even though she doesn’t wear makeup, and she passes all the people captivated by her on the sidewalk, oblivious to their stares, because she doesn’t believe in her innate beauty and charisma—the beauty and charisma that the story says she has.

“Oh, there you are!” Her voice, clear and sweet, rings out to you. You wave back, just as you are supposed to. “You said you wanted to get sweets from the bakery that just opened, right? I’m so excited. I love sweets! I saved up some money just for this.”

A dialogue line full of exposition. You nod and lead the way.

“Have you seen their Magicam posts? The cakes are so pretty.”

Her giggles chime like bells. “I think the strawberry one is the cutest!”

Your small talk has little to no substance. It exists only to pass the time. To be honest, you don’t mind. If this were any normal day, you would have enjoyed this. You would have visited that bakery with (Y/N), gone home with a strawberry tart, checked up on the ledgers for the mafia, and slept while fed and content. But today is the inciting incident of the story, and you have your part to play.

A dark alleyway is where these things always take place in stories. Four men smoking and muttering ominously to themselves lean against a brick wall, hidden in shadow. Their eyes follow your every step. You make sure to walk on the outside of the sidewalk so that (Y/N) passes by the alley. As expected, their hands shoot out and grab her arm.

“Hey, you there.” One of the thugs licks his chops. “Got a minute to spare, pretty thing?”

Generic “bad guy” dialogue. Of course, he’s talking to (Y/N). You don’t need to do anything yet except make sure the pieces are in place. A flutter of black fabric in the corner of your vision assures you that the main lead is ready and waiting.

“Get your hands off me!” (Y/N) struggles against his much stronger grip to no avail. The men pull us into the alleyway and corner us against a dumpster. Tasteful.

“Don’t be so harsh.” Another thug whose voice scrapes like glass shards to the ears grabs your shoulder. You don’t shrug him off. Right now, your role is to lay low and let the main character shine. “We just wanna show you a good time.”

“You can fuck right off! And don’t touch my friend.” (Y/N) shows off her generically headstrong personality now. She probably thinks that she should protect you. You are Friend A, without any special characteristics, a piece of cannon fodder that cannot do anything on your own. Even though (Y/N) doesn’t consciously think that way, this is how she perceives the world. She is not wrong for doing so—she’s being sweet, in the way that she is designed to be.

You don’t have anything to do while she shoots off her scathing remarks, so you take your time to observe the thugs. Just as the story you read describes, these men come from an easily identifiable rival mafia. All four have a tattoo of a handsaw on their bodies—the symbol of the Carpenter Mafia, the current major group in the Queendom of Roses. Common soldiers, no doubt. Not anyone of importance . . . yet.

Thug Number One brings your attention back to the conversation by yanking on your hair. It hurts a little. Irritating, but you can bear with it. (Y/N) looks outraged.

“How about this? Since you’re so determined to save your friend, I’ll let her go if you give yourself to us.” He continues with his harassment by grabbing your cheeks with his grimy fingers. You inhale deeply and immediately regret it due to the smell of his breath. Your mind urges you to refrain from giving him a nice fist to the face. Not just from his treatment of you, but also from his gross proposition to (Y/N). Despite your respective roles in this story, she is still your friend. Hearing him throw those slimy words at her leaves a bitter taste in your mouth.

(Y/N) puts up a struggle. “I won’t give you anything!”

“Do you think you’re in a position to make demands?”

She hesitates, looking at you with conflicting emotions warring on her features. Takes a deep breath, just as the story says she would. Then, with a wavering voice and a tough façade, she agrees.

You take your cue to run from the alleyway, abandoning her the way Friend A is meant to do. You don’t have to worry. After all, the thugs won’t be able to do anything before the male lead steps in and saves her.

There isn’t much time to waste until you get an update on the story. You hail a taxi to a neighbourhood by the sea. You tip the driver handsomely, bid him a good day, then walk another block before arriving at a mansion. There’s nobody here to greet you except the security guards at the front gates.

You scan the trees. Looks like he’s in a good mood. When he’s upset, he doesn’t usually climb. He hasn’t noticed you yet—his back is turned, his head buried in a particularly thick patch of leaves, and you’re downwind.

“Floyd!”

He turns so suddenly that you’re worried he’ll get whiplash. A grin lights up his face, and without a single reservation, he jumps right off the tree and lands smoothly on your side of the fence surrounding one of the Leeches' many properties. The sun shines across his handsome, sharp features. Of course, the twin brother of the male lead must be gorgeous in accordance with the axioms that govern this world.

“Handfish, how was it? Did Jade meet her?” Even though you are Friend A in this story, to Floyd, you are just his friend. He hasn’t given you a generic nickname like the “minnows” that he calls the family’s soldiers and staff. To him, you are an individual who is interesting enough to grant a personal nickname. Even if that nickname is “Red Handfish.”

“Yeah, he did. I saw his blazer.” You think back to the black fabric you saw before entering the alley. “I bet he’s doing the whole ‘I can’t let you live’ conversation with her.”

In the story, one of the thugs reveals Jade’s identity as a mafia boss in front of (Y/N) before he passes out. How a common foot soldier of the Carpenter mafia can recognize Jade, whose face is kept classified from lower-ranked members of the underworld, is worrying enough to warrant investigation. This could simply be a result of poor writing from the original plot, but you are also an example of the original story’s loose ends. If someone like you, who was meant to disappear after page two, can still have any significance and will instead of vaporizing immediately after you left that alley, then you can’t be too careful.

“Bet he’s being real smooth with it.” Floyd cackles, his raspy laugh reminding you of a chain smoker after five consecutive packs. “She’s gonna fall for it hook, line, and sinker.”

“Of course. We’re talking about Jade.” Even under regular circumstances, he’s charming enough to lure any poor, unsuspecting fool to their demise. “They’re going to come here any minute now. Let’s go inside.”

You pass the security guards and enter the Leech property. A perfectly paved ground with colourful stones and not a weed in sight. A marble fountain surrounded by neat, rectangular hedges. And of course, the enormous white mansion with huge double doors, which in turn have proportionally huge fancy glass windows. For (Y/N) to have a “perfect” ending, the world must allow her to escape her current life of scrimping and saving by marrying her into a wealthy family.

“I wonder what the little minnow looks like.” Floyd hums, sauntering into the living room. “I bet she’d break easily if I squeezed real hard, huh?”

“Don’t do that.” The two of you sit on a velvet couch. Floyd’s long limbs sprawl out and take up the majority of the space. You settle on the far end. “And are you going to keep calling her a minnow?”

“Dunno, haven’t met her yet.”

“She’s very pretty. When you meet her, I’m sure you’ll get the feeling that there’s something special about her.”

The story emphasizes how much Floyd adores (Y/N). She is supposed to become a sort of mood stabilizer for him, keeping him consistently happy in her presence. You wonder if that will actually happen. Floyd can and will throw tantrums around people he holds dear. His mood that flips at the drop of the hat seems difficult to stabilize on just affection alone.

He shrugs non-committedly. Just as you’re about to suggest a nickname he could use, your phone buzzes.

Five minutes away. Jade’s text is short and to the point. You stand and stretch, getting ready to play Peeping Tom.

“Remember, don’t say anything about the original plot, okay?” Floyd’s unpredictable nature worries you. You know that your reminder won’t do much if Floyd decides it would be fun to spill the beans anyway, but you can’t help yourself.

“I know, I know.” He frowns and waves you off. Laughing, you move to the room across the hall. He hates being told what to do, but he’s in a good mood right now. It won’t be a problem.

The front door creaks open. Through a crack in the door, you watch Jade carry (Y/N) in his arms like a princess and set her down on the couch. Smooth, easy, efficient, the way he likes to do everything. Even though you know he is acting, his movements, the soft look in his eyes, are almost believable to you. And you’ve known him for fifteen years. There’s an odd stirring in your chest. Guilt? Envy? You tamp it down.

For a fraction of a second, you swear you make eye contact with him. If he notices you, he doesn’t show it. He seems to redouble his efforts on acting sweet to (Y/N). It might just be your imagination.

Floyd pokes around at the two of them the way he always does when he’s curious about something new. His grating laugh fills the air while Jade bandages a scrape on her knee. Good, the scene is going exactly as described in the story. (Y/N)’s first colourful and memorable experience with her future family. Her new family must be fun, rich, kind to her, and love her unconditionally no matter the circumstances. Her new family has to be better in every way compared to her current one—a mother who passed away at childbirth and a scummy father who neglects her. For an author, these are simply lazy ways to give her a tragic backstory and simultaneously pretend her parents don’t exist for the rest of the story because they don’t add to the romance.

How horrible. How could a late mother and neglectful father not affect a person? How could they simply be written off as another thing the male lead “saves” her from? And for that matter, how can the author casually write in a scene where she is cornered by adult men who are physically far stronger than her, who harass her and make disgusting comments, just so she can meet the male lead? How can they just pretend that won’t lead to any trauma?

You know firsthand how (Y/N) lives her life, because despite the story labeling you as the disposable Friend A, you genuinely have been her friend for the past year. You’ve seen her live on plain rice porridge for days to cut grocery costs. You’ve seen her wear clothes until they are threads because she can’t afford to buy new ones. Oh, but isn’t it wonderful that she’s skinny and looks good in everything?

What a load of bullshit.

[mari-lair]

Let's talk about Akane's overprotection of Aoi and the dangers of not properly setting up a narrative tone.

We are told that Akane stalks Aoi because guys have been trying to force her into a relationship for years, so he protects her by beating up anyone who approaches. Nene and Kou are understandably horrified by this.

But in the very next page, Aidairo hit us with this tone switch:

What Akane is saying is contradictory to the violent and possessive narrative that was shown during his introduction, to this yandere role he played the entire chapter, but the manga is trying to convey that we should take him seriously here. Even the lighting and composition are the ones used when characters are vulnerable and Aidairo wants to show that what they feel is real.

It's strange...

Being possessive is never framed as something that leaves other characters in awe, just compare Akane's melancholic and peaceful gaze to the creepy tone used when Kou and Hanako have their "you are possessive" moment.

Both Kou and Hanako hate that part of themselves, Kou even rejects it, but it's still clear the rejection doesn't make him any less possessive. Both want to be dependable, they want to be the only choice, no one else is acceptable. It's a selfish feeling. Being 'the most important person' is more important than the joy of the person they want to help (Kou's wish is Mitsuba needing him, instead of Mitsuba happy as a human. Hanako wants to be the one to save Nene, the idea of Nene being saved by someone else does not satisfy him even if it would make her happy and safe)

So this isn't a "Akane is lying to himself" or a "he is delusional" case.

The narrative, which had presented Akane as a yandere, wants us to believe that "I will protect Ao-chan... Even if she never looks my way" is not only what Akane believes to be true, but also something admirable. A sentiment Nene craves directed her way, claiming to be 'a little jealous' of Aoi, despite calling Akane scary a single page ago.

Let's rewind to see how we got here.

Akane and Aoi's stories suffer from being mostly given to us in gags for a good chunk of the manga, as they are not very relevant in the early arcs, but the crumbs come together after their confrontation in chapter 69.

Why is Akane stalking Aoi? Because he worries about her. Not about someone stealing her necessarily, but about her being hurt or forced into situations she is uncomfortable with.

They are very codependent. They have been for years.

We can see Akane being shocked at the sight of people bullying Aoi since they were kids, it isn't just 'boys who want to date her' that makes her uncomfortable. Jealous girls do too.

Even when Aoi is left alone, using clothes completely out of her cutesy style to attract less attention, and just living her life, she is still harassed.

Aoi's life is a nightmare, it straight up sucks. She hates that, and when Akane notices this discomfort, he hates that too.

He is far more protective than possessive, he doesn't care when people are touchy with Aoi as long as she welcomes the touch: Take Nene as an example.

Akane never touches Aoi at the start of the manga but Nene does, a lot. He never think "Nene is touching my Ao-chan! Unforguivable". "Maybe Ao-chan likes Nene more than me is not far!" or anything of sorts

Even when Aidairo uses the same over-the-top/creepy gag humor I personally find excessive, and Aoi straight up flirts with Nene, Akane's only thoughts about it are the usual "I love her so much"

When he does show dislike for Nene it's never because she is of value to Aoi. It's because of how dismissive Nene can be, not taking Aoi's safety seriously and easily excusing Hanako's actions.

We only see him be aggressive with Nene when Hanako possesses her and makes Aoi uncomfortable.

The problem here is the framing, the comedy focus. It's hard to take it seriously.

Everything about Akane's intro chapter is hard to take seriously. We are told he is "Hard working. Reliable. What a nice and sweet person."

But we aren't shown these honorable qualities much, not explicitly at least. The big panels, the main focus, is on his gag.

And his main joke is that he loves excessively, even for this school standard where everyone is weird (like Nene writing a self-ship fanfic with Teru) so he needs to be over the top, his behavior has to stand out!

How do they try to achieve this? Yandere jokes.

It is overplayed, they spend pages on it. WHOLE PAGES on it.

It is an old narrative trick to present a twist character as a comic relief to lower suspicion, to keep the more important characterization for after a reveal when they are oficially important, but framing all his actions as comedic and devoid of dept to make his reveal as No.1 more unexpected leaves him in a strange position: Akane is intended to be written as a protector but framed as a joke, to the point his introduction become the satire of a protector.

When he is revealed as the clock keeper and allowed to be given more focus, Aidairo try to explain his behavior and show signs of him being a genuinely caring and kind person, as the first part of his intro had promised.

But it's to late.

His crazy actions and anger issues is in most people's minds, a few lines can't erase pages and pages of his introduction as a yandere like archetype, so it's easy for first impression bias to come into play and interpret all his actions as a simple "He is obsessive." instead of trying to find dept or nuance to the established dependence he has on Aoi.

When we are shown that above wanting to date her, he just wants her to be safe and happy, it does not become clear. The reader needs to pay a lot of attention to small moments like these:

Which a casual reader likely won't. Most are reading for the toilet trio at this point in the manga.

This fumble on his character introduction makes it hard to know what should and shouldn't be taken seriously. Aidairo discarded the yandere narrative relatively quick (we haven't seen Akane's bat in ages) but this gag about being happy as long as Aoi is happy turned out to be important:

It was used to further contrast Aoi's and Akane's mentality on their big arc, and highlight how much nearly losing Aoi affected him.

So the only way we can tell what joke to take seriously cause it will be used to build up his character and what is a gag is hindsight.

I did not care about Aoi and Akane's relationship when I first read the manga, i went 'oh cool!' on their conflict, cause that was very well done, but since their characters were not well introduced, I did not notice a lot of the ideas being shown to me.

Akane is a sweet boy. That's his core, his consistency. Even with Aoi, being kind is the priority over being with her.

Let's compare him with Hanako, who is an openly possessive character, and see how they approach their love interests when they don't know if their love interest likes them back yet, and they aren't reduced to a gag (so we'll dismiss Akane being 'a yandere with a bat', and Hanako's joke of him being a tactless pervert, like peaking under Nene's skirt when her time was frozen)

(so pre-chapter 86 to Hanako and pre-chap 69 to Akane)

Hanako traps Nene, he will cling to her anytime he can, he cares about Nene and loves her dearly, he even says he "loves everything about her" but he is greedy for her attention, he is selfish, always trying to make her focus on him out of everyone in the room and keeping her in his hold, out of others reach. His unsubtle possessive nature is a charm of his, makes for an interesting character.

Akane has a different vibe to it. He doesn't have many serious moments with Aoi before their spotlight arc, unfortunately, but when he does, he focuses on reassuring her (even when her time is frozen and she can't hear him) and avoids touching her at best he can. He has known her for more than 10 years, but he doesn't act as if she belongs to him.

I am not saying Akane is not possessive of her, he is. But he tends to be more worried about her than anything.

Using hanako as the trademark of possessiveness again, check out these two scenes:

At the start of the manga Kou likes Nene, and Akane is under the impression Teru like Aoi, so both scenes follow the basic premise of "A know B has a crush on their crush, and they get possessive over a possible romantic rival being too close."

Hanako doesn't say anything, but his message is clear "She is mine."

Akane explicitly says he doesn't like Teru near Aoi but he doesn't try to remove Aoi from Teru or try to do anything violent. Why would he? Aoi is in no danger, nor is she uncomfortable, so he changes focus to the person who is troubled, awkwardly reassuring Teru that his distress is, in his personal opinion, stupid, so "chill bro".

He wasn't like that with Teru before.

He was so determined to stop the wedding he even rejected hanging out with Aoi, crying tears of blood and asking for her forgiveness in his mind but prioritizing not making her get together with Teru above her joy.

Is that because of his development? Yes! A big part is. Notice the way he treats his mental image as reality? That was his biggest flaw, he imposed his views on Aoi (the view being "everyone is stupid in love with Teru" in this case), and assumed what he believes is a universal truth, doing exactly what Aoi accused him of: Not seeing her, just an idea of her.

But the reason he went so crazy and determined, it's because Akane saw Teru as someone dangerous. Someone who would use Aoi. Hurt her. He believes he is protecting Aoi from the big bad president. A view that makes sense when we take into consideration both Aoi's history of being forced into relationships, and when we go back to their interaction.

Look at this and tell me this isn't a threat:

Teru acts as if he barely remembers her name, she is just 'that cute girl', mostly a tool for him to use against Akane.

When his view of Teru changes to someone kinder who genuinely cares about Aoi as a person, he no longer enters protective mode.

He is still bothered about the idea of Aoi being with someone else, he does noooot look pleased even with his fairy tale vision of a happy couple, but the way he treats this possible 'rivalry of love' when he does believe Teru loves her is so different from his "Don't get close to her!! I will NOT allow it!!" approach.

There is no insecure overthinking. No aggression. He is playful about it. He even teases Teru.

He just wants to focus on rescuing Aoi. A 'rivalry' isn't important. He needs her to be safe.

These two parts of Akane have been juggling for a long while.

But now, character focus is the priority, and I am thankful the damage is being undone, that Aidairo let Akane's love take up whole pages instead of small panels buried under pages of jokes.

Their codependence, no matter how many issues it has, and how it can sabotage them, is based on so much care for each other.

It's a shame I only believe Akane was sincere when he said he'll always be there to protect Aoi regardless if he 'gets to be with her', because of what we see later in the manga, not because of what had been set up in his intro.

[blake-me-up-inside]

Ruby Overthrowing Ironwood was Remnant’s Win Condition

Ok, so not directly. Let’s start with the obvious here. Shit hit the fan at the end of Volume 8. Atlas crashed and destroyed both it and Mantle, Salem got the Staff of Creation, and Penny died.

However, we’ve practically been told what the endgame is. Per the Relics page on the RWBY wiki:

It is said that each contains great power, and if anyone were to wield all four they could change the world. In truth, bringing the four together will summon the God of Light and God of Darkness back to the world where they will pass judgment on Humanity. If the Human race has come to accept one another and learned to live in harmony, the Gods will live among them as before and make them whole with the ability to use magic again. If Humanity remains divided and demanding of them, however, the Gods will destroy Remnant and all its inhabitants.

It honestly doesn’t matter what the Relics can do. Salem’s endgame is to bring them together while keeping the world divided so the world will be destroyed and she will hopefully truly die.

Ironwood’s plan was to take Atlas high in the sky to keep the Staff and Lamp out of Salem’s hands. Now, I firmly don’t believe that would work longterm as she’s shown to be very creative with Grimm and would likely manager her way up there one day. Morally, this is also bad because it pulls Atlas’s military might from the rest of the world, leaving the rest of humanity to fend of themselves. The most immediate fallout is, of course, the people of Mantle being slaughtered as a “necessary sacrifice.” It’s then obvious that the rest of history plays out with Salem razing the rest of Remnant before taking out Atlas and claiming the Staff and Lamp and The Brothers return and destroy what remains of the still fractured Remnant.

Ruby, unknowingly, made the best move for the long term. She undermined Ironwood and put out a message to the rest of the world about Salem. That information alone gave the world a common enemy and a common threat. Ruby also put her money where her mouth was and saved the people of Atlas and Mantle from the immediate threat of Salem’s invasion. And we see at the end of Volume 9 that people of all nations have gone to Vacuo. The atmosphere still isn’t great, but this is humanity’s best chance to unite. Because if humanity learns to live in harmony, Salem’s end goal is a moot point.

And we know this is more than likely how the story ends. RWBY is a fairy tale. There’s no doubt in my mind there will be a happily ever after.

[luciferanalyzestar]

I think it’s moreso the fact that the fans can’t cope that their demon show finale was terrible, so now they’re taking their frustrations out on anyone instead of the people behind the writing. It’s been said before that jaw dropping animation can’t save a bad script. I FUCKING love arcane but s2 wasnt good, I was half asleep by act 3. The animators carried S2 but I they couldn’t save it, because of bad writing. writers and animators were on completely different pages when it came to plot points and relationships dynamics, that you got writers backpedaling so hard. HB S2 has been a miserable experience of bad writing, bad yaoi wattpad fanfic, and so much fucking merch. Only fun I got was watching people call out the bad writing and watching the showrunner throw so many tantrums on Twitter and IG

Good animation cannot save a bad script. I wonder if Helluva looked this this, will the decline of the writing will be more noticeable? /j

Animation is a visual tool. I think if you have a story you want to tell using animation, the visuals can look like whatever. As long as the visuals are readable and not seizure inducing.

I talked too much about how Helluva is just badly written Yaoi. I find it funny when you say this, fans will call you "homophobic" for saying so. The only people I see call it yaoi are Queer or MLM themselves. I know homophobic 'critics' of the Hellaverse exist, but they are few and far in between.

It feels like certain scenes and props exist just to be made into merch. All of this merch is a reference to a certain moment. It would be different (and cool) if these were figure dioramas but it just your standard keychains and enamel pins. Like who wants to buy a "Glut-Honey" keychain and a blanket with red blobs on it?

There is also an issue with there being so much merch made during a short, limited time. Sharkrobot does not space out the releases, it is just back-to-back. If your wallet was drained by the Ghostfuckers or Halloween merch, you will probably not be able to buy the Mastermind or Sinmas stuff.

Only fun I got was watching people call out the bad writing and watching the showrunner throw so many tantrums on Twitter and IG

I am sad that Helluva and Hazbin are both on hiatus now. Reading critical tweets and posts is one of my favorite ways to pass the time. I also like making these posts too.

Anyway, I love when a negative or meme tweet about Hazbin or Helluva blows up and reaches the fandom, fans start losing their mind and defend the shows and Viv like there is no tomorrow and throwing tantrums at their big age over a cartoon.

[fuck-you-upmusicbracket]

Achilles Come Down (Gang Of Youths)

The self is not so weightless, nor whole and unbroken/Remember the pact of our youth/Where you go, I’m going, so jump and I’m jumping/Since there is no me without you

How, the most dangerous thing is to love/How, you will heal and you'll rise above/Crowned by an overture bold and beyond/Ah, it's more courageous to overcome.

You may feel no purpose/Nor a point for existing/It's all just conjecture and gloom/And there may not be meaning/So find one and seize it/Do not waste your self on this roof

Soldier on, Achilles, Achilles, come down/Won't you get up off, get up off the roof?

"I'm sure you'll get other submissions for this one. I have no idea who this band even are outside of this song but it fucks me up like it does everyone else. It's the tragic love of it all. The desperation of trying to save your loved one from themselves. Or are the narrators of the song Achilles' own conscience representing his indecision on whether to kill himself or not? It can mean so many things and SO many parts of the lyrics are very poetic and powerful. (also again for me this makes me cry over a Specific Blorbo in this case Dimitri Blaiddyd but that doesnt matter)"

"The cellos in the background, the lyrics, telling the story of Achilles, the fact that it's fucking 7min long, it's beautiful, it breaks me to then pull me back together, it gave me hope in a moment where I wasn't in the best mental space, it's like getting undressed to your very soul only to be cover up with a weighted blanket afterwards and be told "it'll be alright." It's like that image with the guy that's like "this is cinema" but with a song, god I love this song so much"

"Ohhhg my god. It’s so. It’s a fucking heartbreaking song but it gives hope (^^see abovw lyrics. there may not be meaning so find one and seize it gets me the most). I can’t say anymore about it but yeah"

"Achilles is about to jump off the roof, his lover is trying to convince him not to. the vibe of this song itself is so unique, the violin and the segments of French reading really grip at your soul. Towards the end there are two voices seemingly arguing. One voice is Achilles’s inner monologue and the other is his lover trying to yell over it. This part is my favorite, especially if you’re envisioning your blorbo. Tbh in my darkest times I would fall asleep to the ten hour loop every night. It felt like laying on a rooftop and looking out at the stars and the street lights. I think maybe it kept me from doing things I would regret."

Drift Away (Steven Universe)

You keep on turning pages/For people who don’t care/People who don’t care about you/And still it takes you ages/To see that no one’s there/See that no one’s there/Everyone’s gone on without you

"Being stuck in one place while people, well, drift away and leave you behind. Realizing that relationships don’t always last forever. But waiting and hoping that, eventually, you’ll come back to each other, before realizing that’s not gonna happen."

Drift Away submitted by @angelicdevil

[stillness138]

So Jinzee's video about the trailer brought me to a realization, it's kinda neat that Ciri has an association with the cat school in the light of this new direction.

Everyone is still screaming crying throwing up that Ciri having undergone the grasses is way too lore breaking but here's the counter argument again; her entire plot in the books is about her and only her getting to decide what to do with her life and with her body.

And not to get derailed too much but diverging from what Sapek or even cdpr themselves said before doesn't have to be a bad thing. Think about Thronebreaker - it's a great adaptation of Baptism despite not literally having the same storyline or the same characters because it's ultimately about the same things, a perilous journey to save what you care about the most, familial relationships and a family-like unit brought together by circumstance, how much war sucks. I think this new game is going to be about autonomy, something looming over Ciri's entire book arc. And again, it's okay to "break lore" in service of a good, meaningful story that still carries the spirit of what Sapek was trying to say; the witcher books certainly aren't about "adult women can't be turned into witchers", they are about, among other things, family, abuse, and making choices.

Jinzee in her video proposes that perhaps the lynx school is going to be a group of people who choose whether to undergo (likely altered/adjusted, re: the future potential of Uma's uncursing) mutations and that made me think about Gezras and the story of the cat school in gwent. Because it doesn't appear in the ttrpg it seems it was written specifically for gwent by the mysterious lorekeeper, so it is cdpr approved at least. I talked about Gezras quite a bit already (here, under Thaler) and concluded that his and the cat school's story is beside revenge about reclaiming the trial as something that gives mistreated people means to protect themselves. Autonomy and even ability to choose. It's not perfect in the cats' case, not at all, these are back alley mutations that leave them fucked up forever, but the concept is not unheard of.

I don't think Ciri would have forced anyone into it. The lack of much of a choice (Geralt does talk about choice being a factor in the trial but is it a real one when you're a literal child given up by your caretakers) is what makes it an abuse cycle and she's had enough experience with abuse - and with falling into a spiral where she becomes a perpetrator - to avoid doing it again (she also has an on-page mini arc of getting out of that spiral, with Vysogota, but it would be interesting if the game explored her history, especially the years spent in the Arthurian world). Maybe her mutation will be a one-off like i initially thought, but if not, choice is a word already attached to her by the game director and indirectly by the trailer itself. That girl's autonomy is a point in it too. She believes she has to sacrifice herself but only because she's been told as much by people around her. In that sense it's personal for Ciri, and probably why it's the plot of her first trailer to begin with.

And i guess the best closing words i can muster is that it also is just that, a first trailer - we don't know the plot of the game and can only speculate what it's going to be about and how it's going to explain the trial and even the medallion for that matter. Not to have expectations too high because cdpr is definitely prone to comically wasting their potential, but so far it's really not looking bad. The ground for good storytelling and even apt political commentary is there, we will have to wait to see if they walk it.